RUMBA

TIME SIGNAlURE
The time signature of the music is 4/4. Each bar is divided into four even beats, w:iitih the important musical accents occurring on the lst and 4th heats. RHYTHMICAL INTERPRETATION The Rumba is basically a "body" dance, consequently the main hip action, which results from a controlled transfer of body weight, is arranged to coincide with the accented 1st and 4th beats of the bar (see description of the Basic Movement on page 9). The fact that the first foot movement normally occurs on the second beat of the bar has in the past led some people to believe that the second beat of the bar is accented and that the dance is an "off-beat" dance. This is incorrect. The dance can be performed comfortably over a fairly wide range of tempi, but 32/34 bars/minute is usual for competitions and medal tests. Throughout the dance all steps forward by man and lady are taken on the ball of the foot with some pressure into the floor, immediately lowering to the fiat foot as the full extent of the step is reached. All backward steps are taken using 'the ball of the moving foot, immediately lowering the heel as the full exten~ of the step is reached. As the heel of the moving foot IS lowered, the heel of the stationary foot is raised just clear of the floor. CLOSE HOLD The Close Hold for this dance is similar to the normal hold for. English Style, e~cept that the man and lady dance slightly apart, holding themselves naturally upright WIthout any ObVIOUSforward or backward poise. 6

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RUMBA ALIGNMENT In description of ~e figures ~n .this dance no r,?f~ence is made to starting and finishing pOSItIOns. ThIS IS because the Rumba is basically a non-progressive dance and therefore individual figures need not always be danced using the same alignment. FAN POSITION Fan Position is one of the classic positions in both Cuban Rumba and Cha Cha Chao When in Fan Position the lady is at arm's length on the man's left side, with her body at right angles to his, having stepped. b~ck on left foot. Her feet will be almost III line and pointing along an imaginary line which passes the man, who has taken a step to side with right foot, approximately 6 in. in front of his body. When achieving Fan Position the advanced male dancer changes his left hand hold so that when the position is reached his left hand, with palm facing upwards is beneath the lady's right hand, whose palm is facing downwards. The man's left arm must not be fully extended since on the following step he must straighten the arm to allow the lady to close her feet. The lady's left arm should be extended to her left side in a soft curve from the shoulder. The man's right arm is held in a natural position a little wider and lower than it would be when holding the lady in normal Close Hold. Both man and lady look straight forward with the head held in the natural "forward looking" position. OPEN POSITION When in the Open Position the man and lady face each other, almost at arm's length; man with weight on right foot, lady with weight on left foot. The man holds the lady's right hand in his left hand; just above waist level with their arms not quite straight. The man's right and the lady's left arm are held as in Fan Position. SHADOW POSITION Shadow Position is used extensively by advanced dancers, particularly in competition work, as it enables the man to present his partner effectively. The lady faces the same way as her partner and she is positioned on his right side, slightly in advance of his body. The man's right hand is either placed on or just below the lady's right shoulder-blade or holds the

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RUMBA lady's left hand; her left ann held across the front of her body below her right arm. The man retains hold of the lady's right hand with his left hand, the arms held in a soft curve across the front of the body, just below shoulder level. Another form of this shape is the "same hand" Shadow Position. To achieve this the man changes hands during the preceding movement and takes up Shadow Position, holding the lady's left hand in his left hand, the left arms being extended in a soft curve to the left side. The man's right hand is placed just below the lady's right shoulder blade. The lady's right arm is extended to her right side in a soft curve from the shoulder. CUCARACHAS The Cucarachas are defined as "pressure steps" and are danced mainly by the man during a number of figures in the Rumba. The movement consists of a group of three steps normally made without turn, the feet being closed on the third step. On the first step, which is taken with pressure into the floor retaining some weight on the supporting foot, the foot is taken forward, diagonally forward, sideways, diagonally back or back. On the second step, full weight is transferred on to the supporting foot in place. On the third step, the moving foot is closed to the supporting foot. When a true Cuearacha is danced the heel of the supporting foot should not be released from the floor. This is not practicable if the Cucaracha is taken forward. ALTERNATIVE BASIC MOVEMENT This movement is sometimes introduced by advanced male dancers in certain figures to replace the norma] basic foot movements. Expert advice should be obtained regarding its introduction for, if used indiscriminately, it will spoil the character of some figures. The Alternative Basic Movement is danced by the man, normally after taking a wide step to side on RF in Open Position and continues as follows:Count 1. Close LF to RF, without weight 2 2. Hesitate, with feet together, weight still on RF 3 3. LF to side 4~1 The movement may be repeated by closing RF to LF. S

RUMBA

Associate
Figures marked with an asterisk under the heading on "Precedes" and "Follows", apply only to the Membership and Fellowship Syllabus. BASIC MOVEMENT Commence in Close Hold feet approximately 12 in. apart and transfer full weight on to RFon the first beat of the bar. Finish in Close Hold. Count Man 2 1. LF fwd ... 3 2. Transfer weight to RF, in place ... . .. 3. iF to side without full weight, then transfer 4-1 full weight to LF 2 4. RF back, releasing L heel 3 5. Transfer weight to LF, in place ... . .. 6. RF to side without full weight, then transfer 4-1 full weight to RF Lady 1-3. Dance steps 4, 5, 6 above. 4-6. Dance steps 1, 2, 3 above. Amount of Tum. Man and lady. A steady continuous turn to the L is made throughout the Basic Movement. The normal amount of turn is approximately t to L over the 6 steps. However, more turn can be made. Precedes. Any figure that finishes in Close Hold, man with weight on RF on the Ist beat of a bar. Follows. Basic Movement. Steps 4-9 of Reverse Top, Outside Swivel,* After forward half of Basic Movement: -Fan, Backward Walks, Natural Top. Note: Step 3 is taken back when following with Backward Walks. Step 3 is taken to side and slightly back when following with Natural Top (lady fwd between partner's feet). Step 6 is taken to side and slightly forward turning :1 to L when following with steps 4-9 of Reverse Top. I~ROGRESSIVE WALK. Description of Forward Walk-Man and Lady. Step forward on ball of LF, using a flexed knee. At the full extent of the step lower to fiat foot, straightening the knee. The RH is naturally released from the floor, but tension is retained in the R leg. 9

RUMBA Description of Backward Walk-Man and Lady. Step back on RF, using a flexed knee. At the full extent of the step immediately lower RH, straightening the R knee. The UI is naturally released from the floor, but tension is retained in the L leg. Amalgamation of Forward Walks. Commence and finish in Close Hold. Man Count 1-6. Dance six Forward Walks, using the foot and leg action described above. LRL, RLF 2, 3,4-1, 2, 3,4-1 Lady While the man dances the Forward Walks, the lady dances the Backward Walks, as described below. Amount of Turn. Man and Lady. The Forward Walks may be danced without turn or curved slightly to L or R. Precedes. Backward half of Basic Movement but take step 3 forward. Follows. Basic Movement. Amalgamation of Backward Walks. Commence and finish in Close Hold. Man Count 1-6 Danoe six Backward Walks, using the foot and leg action described above. RLR, LRL 2, 3, 4-1. 2, 3, 4-1 Lady While the man dances the Backward Walks, the lady dances the Forward Walks, as described above. Amount of Tum. Man and Lady. The Backward Walks may be danced without turn or curved slightly to L or R. Precedes. Forward half of Basic Movement, but take step 3 back. Follows. Backward half of Basic Movement. Fan. If sixth walk is taken to side and slightly back Natural Top. FAN Commence in Close Hold feet apart, weight on left foot. Finish in Fan Position. 10

RUMBA Precedes. Fan, Close Hip Twist, Outside Swivel, * Opening Out from Reverse Top,* Overturned Spiral,* Open Hip Twist.* Follows. Fwd half of Basic Movement to Natural Top, Alemana, Open Hip Twist,* Three Threes." Note: If the Hockey Stick is followed by the Alemana, Open Hip Twist or Three Threes the lady steps back on the first step of each of these figures-see note following description of Alemana. NATURAL TOP Commence in Close Hold, weight on LF, which is placed to side and slightly back; lady with RF fwd. Finish in Close Hold. Man Count 1. Turning to R, place RF with T turned out, behind LF 2 2. Still turning to R, LF to side and slightly fwd 3 3-8. Repeat steps 1, 2 for counts of 4~1, 2, 3, 4-1, 2, 3 9. Continuing to turn to R, close RF to LF... 4-1 Lady 1. Turning to R, LF to side and slightly back ... 2 2. Pivoting slightly on LF, cross RF in front of LF, still turning to R '" .. . ... .. . 3 3-8. Repeat steps 1, 2 for counts of 4-1, 2, 3, 4-1, 2, 3 9. Continuing to turn to R, LF to side ... ... 4-1 Amount of Turn. Man and lady. A continuous turn to the R is made throughout the figure. A nominal amount of turn for the complete nine steps is 2 turns to R. Note 1: Throughout the figure the couple revolve in a Circle, with a centre which falls at a point between the two pairs of feet. Note 2: If desired, only steps 7, 8, 9 of the Natural Top may be danced. Precedes. Forward half of Basic Movement, without turn to L, placing 3rd step to side and slightly back (lady forward between partner's feet), Backward Walks finished by taking 6th walk, to side and slightly back: Follows. Basic Movement, Opening Out Movement Close Hip Twist, Outside Swivel,* Spiral," Rope Spin~ mng.* OPENING our MOVEMENT . Commence in Close Hold, feet together, weight on right foot; lady With feet apart, weight on left foot. Finish in Close Hold. 12 Man 2.

RUMBA

turn strongly to R 2 Transfer weight to RF, in place, commencing to turn lady to L 3 3. Close LF to RF, turning lady square, regaining Close Hold ... . .. ... ... ,. . 4-1 Lady 1. Turning strongly to R, RF back, releasing L heel 2 2. Commencing to turn to L, transfer weight to LF, in place 3 3. Turning square to partner, RF to side 4-1 Amount of Tum. Man-Nil. The L arm is lowered on the 1st step to facilitate the lady's turn. Lady-Up to t to R on step 1. (The actual amount of turn on the l st step depends upon the position of the body, relative to the man at the end of the preceding figure.) t to L over steps 2, 3. Note 1. If the figure is overturned to continue with Reverse Top, the man makes t turn to L on step 3, placing LH to RT. The lady turns a further t to L, placing RF back and slightly to side. Precedes. Natural Top, Alemana, Rope Spinning,* Three Threes. * Follows. Backward' half of Basic Movement, Fan. If overturned-Reverse Top. Note 2. The Opening Out Movement forms the first three steps of the Close Hip Twist and the Spiral, but in the latter case a further turn is made on step 3. REVERSE TOP Commence in Close Hold, weight On left foot, left heel placed to right toe; lady with right foot back and slightly to side. Finish in Close Hold. Man Count 1. Turning to L, RF '10 side and slightly fwd ... 2 2. Still turning to L, swivel On ball of LF to bring LH to RT ... ... 3 3-9 Repeat steps 1, 2 for counts of 4-1, 2,3,4-1,2, 3,4-1 Lady 1. Turning to L, LF back, toe turned out .. . 2 2. Still turning to L, RF back and slightlv to side, toe turned in ... ... ... -... 3 3-9 Repeat steps 1,2 for counts of 4-1, 2, 3, 4-1, 2, 3,4-1 13

1. LF to side lowering L arm, leading lady to

Count

RUMBA
Amount of Tum. Man and lady. A continuous tum to the L is made throughout the figure. A nominal amount of turn for the complete nine steps is 1t turns to L. Note: Throughout the Reverse Top, the couple revolve in a circle whose centre will be the spot on which the ball of the man's LF is swivelling. Precedes. Overturned Opening Out Movement. (See note 1 after the description of the Opening Out Movement.) The last six steps of the Reverse Top may be danced preceded by:1. Backward half of Basic Movement, taking the 3rd step to side and slightly fwd, turning strongly to L 2. Close Hip Twist, if the 6th step is taken to side and slightly fwd, turning strongly to L, retaining Close Hold. 3. Open Hip Twist,* Outside Swivel* or Spiral" if the 6th step is taken to side and slightly forward, turning strongly to L, regaining Close Hold. Follows. Basic Movement, Outside Swivel.* After 6th step of Reverse Top++Opening Out from Reverse Top,* Steps 4-6 of Spiral" (See Spiral precedes).

but candidates for the Membership and Fellowship examinations will be expected to have a knowledge of methods used to achieve Progressive Walks in this position. Transfer weight to LF in place. (The actual amount of turn on the Ist step depends upon the position of the body. RF to side 4-1 17
Member
PROGRESSIVE WALKS FORWARD IN
SHADOW POSITION
When danced using this "shape" the technique of the actual walks is unchanged. Transfer weight to RF. Note: The man may turn a further t to L over steps 1-3 to finish facing partner in Open Position. Alemana.. Aleman a . 2. as danced after Overturned Alemana and Sliding Doors. Progressive Walks are then commenced on RF for man.. 3. relative to the man at the end of the preceding figure. T turned out.* Three Threes. with T of LF turned slightly out . RF to side. . RF to side and slightly fwd releasing hold with R hand .. 2 5. over steps 5. . * 4. * Follows. RF back and slightly to side 3 6. Alemana. fwd half of Basic Movement (Steps 1-3 of Alemana for lady) to Natural Top. turn to R and step fwd LF. Still turning to L. Finish in Fan Position. collecting partner in Shadow Position after she has made the Spiral tum on step 3.) t to Lover steps 2. Follows are then: Alemana. Three Threes. Steps 4-9 of Reverse Top (see precedes for Reverse Top). . having danced steps 1-6 of Reverse Top... timed 4~1. Follows. 3.. with no turn on Step 1. RF back leading lady to move to L side . Fwd half of Basic Movement (steps 1·3 of Alemana for lady) to Natural Top. i to R on step 4. t to L over steps 5-6. Open Hip Twist. . . weight on RF. 3 3.
RUMBA Timing:
OPENING OUT FROM '6' OF REVERSE TOP
Commence in Close Hold. Amount of Tum. Sliding Doors. LF back . release hold with R hand 3 6. 3. 4-1.. The L arm is lowered on 1st step to facilitate the lady's turn. preparing to lead partner outside 3 3. turning slightly to L 2 2. Turning to L. LF fwd 2 2. . Rope Spinning. Man-t to L over steps 1. The most popular exit is for the man. Precedes.* Three Threes... the turn made by the lady on step 4 is achieved mainly by a strong turning of the hips. Open Hip Twist. Precedes. 6. still leading lady to move to L side. Hockey Stick. 4-1 4. 3. 4-1 Amount of Tum. Note 1: As the name of the figure implies.RUMBA Bringing L hip well fwd. (a) Steps 1. Steps 1-6 of Reverse Top. to check back on RF and dance the backward half of a Basic Movement. Finish in Fan Position. Still turning LF back .. Sliding Doors. Precedes. leading lady strongly to left side during 16
.. LF back leading lady to step fwd outside on R side and to swivel to R . 2 '1 Close LF to RF H to instep. these three 2. but both man and lady step forward on this step. RF back 3 3. to finish facing lady in Open Position. No turn is made on step 3 of the Opening Out Movement. . (b) Opening Out Movement. Follows. Man Count 1. Natural Top... Turning slightly to L. steps to finish in Fan Position. Hockey Stick. The lady's movement is similar to steps 7-9 of Reverse Top but the amount of tum is smaller as she moves away from the man to finish in Fan Position. . . OUTSIDE SVVIVEL Commence in Close Hold. 2. weight on LF. Man Count I. Follows are then: Alemana. 4~1 Note: For the man this movement is similar to steps 7-9 of Reverse Top danced with very little turn. 3 of Spiral. Lady-Up to t to R on step 1. LF back. 2. feet parallel 4-1 Lady t. short step 2 5. after a Progressive Walk forward On LF.* Note 2: The man may turn t to L. Man-Nil. Continue to tum slightly to L. in place. Lady -it to L over steps 1.

4-1 Sway.. if the lady is lead to dance the Spiral Turn at the end of the 6th step of the Reverse Top. 6. Precedes.. lowering. (The actual amount of turn on th.. . Steps 4-6 of the Spiral may be danc~d following step 6 of the Reverse Top.. Man~t to L over steps 5. Man-e-Nil. weight on LF. This figure may be overturned to finish in Fan Position. . ... weight on RF. Man-To R on 2nd beat of last step of preceding figure. t to L over steps 5.. . ... 3 6. Lady-One complete turn to R on 2nd beat of last step of preceding figure..... . Close LF to RF . LF now in front of partner . Note 2. 3 of this figure are the Opening Out Movement. Natural Top. curving to R towards partner . 3 6. curving to R. 3 6. turn lady strongly to R under upraised L arm. 6.. Additional t to L on 2nd beat of step 3. Note 1. lady with feet apart. except that the lady is turned an additional i to L on the 2nd beat of the 3rd step..
RUMBA
Fellow
ROPE SPINNING Commence with feet together. curving to R. moving behind partner .RUMBA 4. Progressive Walk fwd on RF. Transfer weight to RF. R shoulder. Still turning to L. LF to side 2 2. . L on steps 4. Sliding Doors Rope Spinning. 4-1 4.. LF fwd . fwd half of Basic Movement (steps 1-3 of Alemana for lady) to Natural Top. 21
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. in place. t to L on step 4.. . Amount of Tum.. ' (e) The ma~ may collect the lady in Shadow Position after the Spiral turn on step 3 and then continue with Progressive Walks forward. 2. Alternatively' this figure may be overturned as described above with the ma~ making i.... Progressive Walk fwd on RF. Lady-nil.) t to L over steps 2. turn to L over steps 5... Progressive Walk fwd on LF.. 3.. (b) If finished in Fan Position: Alemana. Hockey Stick Sliding Doors. Progressive Walk fwd. Steps 1. 3 3.. RF diagonally back 2 5. in place 3 3. 2 5. Finish in Close Hold. ..lS step depends on the relative position of the body with respect to man at the end of the preceding figure. . Progressive Walk fwd RF... to finish facing partner In Open Position.. retaining weight on LF. moving behind partner ..
Me
6:
On the 2nd beat of the last step of the preceding figure (usually Natural Top). LadyU~ to t to R on step 1.. Transfer weight to LF. 2 2. At the end of this movement the lady will be on man's R side. In this case the man makes no turn' the lady an additional t to L on step 3. 5. 1 Leading lady to move forward. Alemana. now level with partner at arm's length on his L side 4-1 4. Continue to turn to 1. R on steps 1. continue as follows:1. curving to R. Follows. Still turning to L. Three Threes.. LF back 4-1 Amount of Turn. ankles and knees together. 2. Progressive Walk fwd LF curving to R towards partner 2 5. (a) If finished in Open Position: Alemana. One complete tum to R over steps 1-6.. RF back and slightly to side .. facing in opposite direction . Finish facing in opposite direction to partner 1 1.. . Close RF to LF regaining Close Hold 4-1 Lady On the 2nd beat of the last step of the preceding figure (usually Natural Top) tum strongly to R on LF allowing R leg to cross in front of L leg. Open Hip Twist. .

.. Precedes... 3 LF back.. N'!te: On stel?' . ::: ::: ::: ::: 3 3. LF fwd allowing lady to close RF to LF .. leading lady to return to L SIde .. leading lady to turn R.... in place leading lady to replace weight '" . in place 3 12. Finish in Close Hold. 5. man and lady stepping fwd on 3rd step into Progressive Walks in Shadow Position.. Man Count 1. . slightly under body. LF back.. Retain hold with both hands the arms being held in a soft curve away from body just above the waist. Close LF to RF.. Finish tion. Close Hip Twist. 6. commencing to turn L 2
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. Still turning lady' to tran'. 3 12.. commencing to lead lady to R SIde . .. RF to side..... . Fan...' . .. Close RF to LF 2 2. Close ~F to L~. slightly back. 2 2. .' . Opening Out from Six of Reverse Top.6 the lady can be overturned
to finish
Man Count 1.. .. . then releasing hold with L band. .. Note 1.. THREE THREES Commence in Open Position.
5. . RF fwd and allowing man to take L hand in his R hand . RF back. 4-1 7. in place 3 9.. LF to side..ier "'.RUMBA
RUMBA side (small step) . Outsi~e Swivel.. if this figure is used as the following movement. Sliding
. RF back . A more advanced method of dancing this figure is to use the same hand Shadow Position hold. Rope Spinning.. Continuing to turn L. . Natural Top. arms now lowered to just above waist level . 4-1 Steps 7-12 may be repeated. .. . Alemana.. L arm above R arms (Shadow Position) ... The hold achieved on step 3 is maintained throughout the figure. . Follows are then: Spiral... Lady-! to L over steps 4. in Shadow Posi-
in Shadow POSItIOn. 2 2. commencing to turn lady to Lunder L arm 2 5. . Follows. Man-Nil. still leading lady fwd and taking lady's L hand with R hand . the Sliding Doors hold being achieved on last step of each of these figures.. releasing hold with L hand... lowering L arm. LF fwd. RF to side.. Close HIP TWIst.~ight t~ ~ in place.. .. 4-1 4. ..... Transfer weight to RF. Transfer weight to RF. Transfer weight to LF.. in place 3 3. . . leading lady to step to side . slightly under body. LF to side 2 11. . . RF fwd and across body 4-1 10. Open Hip Twist... Opening Out Movement. 4-1 7. ... Amount of Turn... 3 3.. Step 7 can be entered after the Rope Spinning (see note after this figure) or an Overturned Alemana. 4·1 4.7) Progressive Walks in Shadow Position. The man takes lady's L hand in his L hand on step 5 and the remainder of the figure is danced in this position.... 4-1 Steps 7-12 may be repeated. leading lady fwd . _leading lady to step back . in place. LF fwd. Opening Out Movement. 3 9. lady now on R SIde. .... .. Spiral (no turn on Ist step). checking lady's turn by placing both hands on her arms just below shoulder level 2
Precedes.. Outside Swivel... RF back and slightly to
Doors (entered from step No.. with no turn.. Transfer weight to RF. Close LF to RF. in place leading lady to replace weight fwd .. Close LF to RF raising L arm.. 4-1 lO. 2 "8. Both hands are released during the Spiral. Lady 1... LF fwd... .. . ....... Transfer weight to LF. 2 8. leading lady fwd and across front of body . allowing lady to close RF to LF . placing R hand just below the lady's R shoulder blade on step 4 and arresting her forward progression. 3 6. This is achieved by dancing steps 1-4 as a Hockey Stick. 2 11.. ' SLIDING DOORS Commence in Fan Position.... Note 2....... Close RF to LF.. Basic Mov~ment. ...... . Transfer weight to RF..6.. Follows.. . Spiral (if finished in Fan Position).. 4-1 4.. Spiral.

in place 3 12.. weight on LF. Close RF to LF .. Fan.. LF fwd 3 3. LF fwd 2 11. Spiral. Basic Movement. 6. Basic Movement.
Suggested Amalgamations
ASSOCIATE Commence in Close Hold. but with the bracing of the man's arm on step 3 changed to a pressure at the end of the Ist beat of the 3rd step to lead the lady to turn strongly to R during the 2nd beat of the third step. The following figures can be finished in Open Position and therefore may be used as precedes for the Three Threes: Fan. 24 5. Transfer weight to LF. Steps 10. Basic Movement. in place 3 Close RF to LF leading lady to turn to L with both hands. Transfer weight to LF turning strongly to L allowing RF to 'trail' with a pivoting action 4-1 7. Open Hip Tv:is~ (man turns t~ face partner). 4-1 10. RF fwd. Spiral. 11. checking lady's turn by placing both hands on her arms just below shoulder level 2 8.RUMBA Transfer weight to LF. Fwd half of Basic Movement. LF fwd in line with partner 4-1 Note 1. 2 2. Fwd half of Basic Movement Fan Aiemana (overturned). Close Hip Twist.. 12 for lady are Progressive Walks turned strongly to right and are similar to steps 4. leading lady to tum to R with both hands.. turning strongly to R..
RUMBA
Note 3. RF fwd . 1t to R over steps 9. Outside Swivel. Close Hip Twist.. Small step to side LF . Precedes. Outside Swivel. Close RF to LF. Continue <toturn to R. 4-1 10. Three Threes steps 1-3 of Spiral to SIX fwd walks in Shadow pas. Outside Swivel. Fwd half of Basic Movement. Close Hip Twist. Fan Hockey Stick. Hockey Stick (see Note 3). closing LF to RF without weight 4-1 4. in place 3 9. 12. plus one ~r tw~ figures from the Membership syllabus. Transfer weight to RF. then release hold 4-1 7. Amount of Turn. Transfer weight to LF in place 3 9.. the description of the first two steps for lady would be: 1 RF back. Opening Out from Reverse Top.
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. LF to side and slightly fwd. Lady-t to R on step 3. RF diagonally back 2 8. Fwd half of Basic Movement. Natural Top Opening Out Mov~ment (overturned) Reverse Top. 11. Man-Nil.. MEMBER OR FELLOW Commence in Close Hold. Close LF to RF. 3 12. weight on LF. Hockey Stock. Overturned Spiral (man turns to face' partner).. Still turning to R. 2 5. Fan pas. Note 2. Continue to turn to R. then release hold . Transfer weight to LF. regaining Close Hold 4-1 Lady 1. feet slightly apart. in place Follows. 10. Open Hip Twist. Opening Out Movement. in place 3 6. Check back on RF: leading lady to.. Sliding Doors. The lead for steps 1-3 is similar to that used in the Open Hip Twist. 6 of the Alemana. Natural Top' Rope Spinning. If the preceding figure is a Hockey Stick. Spiral. 5. Repeat if necessary from Hockey Stick above. RF fwd commencing to turn to R . RF back 2 11. Transfer weight to RF. Open Hip Twist. feet slightly apart. steps 4-9' Reverse Top. One complete turn to L on step 6. 2. Alemana Close Hip TWISt (WIthout releasing hold).

with the exception of those used in the Corta Jaca. This rather open Promenade Position is necessary since it is impossible to achieve the hip or pelvic action required for the Samba Walks when stepping across the body-as occurs on every alternate step in normal Promenade Position.j '. NATURAL BASIC MOVEMENT Commence facing wall in Close Hold.:.. then allow knees to straighten . thereby making the use of these timings impracticable. the 1 & 2 timing is given. feet together. 2 Repeat ad lib. because this is the most natural interpretation for Samba music played at a medium to fast tempo.1
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. BEAT VALUES Three different timings are used in the Samba and the beat values associated with these timings are:S Q Q-l t t: 1 & 2-t t 1. The lady holds her left hand just behind the man's right shoulder. Dance steps 1.'. flexing R knee at end of step 1 2. The man's right hip and lady's left hip may be in contact or slightly apart. Transfer weight to RF in place. allowing knees to straighten & 3. The Natural Roll may also be danced with a heel lead on step 1 for man and step 4 for lady. When the SQQ timing is used the bounce action is not employed. The decision to standardise on this timing has been made.
SAMBA
TIME SIGNATURE The time signature of the music is 2/4. FOOTWORK All steps are taken ball-flat. 1. co-ordinated with the raising and lowering of the heel.SAMBA THE HOLD The Close Hold used in this dance is similar to that described for the Rumba. 2. Close RF to LF. weight on LF. When a hip or pelvic action is used this must not be reflected in the shoulders.II
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"\ . 2 4. Man Count 1. Lady 1-3. 6 above 1&2 4-6. or SQQ. flexing knees.'.. 2.
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. which is obtained through the flexing and straightening of the knees. Throughout the dance the body above the waist should be held steady. Close LF to RF. 2. Transfer weight to LF. 3 above 1&2 27
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". but 54/56 bars/minute is usual for compethions and medal tests.
Associate
Figures marked with an asterisk under the headings "Precedes" and "Follows" apply only to the Membership or Fellowship syllabus. the man holds the lady with his right hand just under her right shoulder blade. Dance steps 4. The alternative timings of 1. ANKLE AND LEG ACI10N All figures danced using the I! & 2 timing require the characteristic bounce action of the Samba. Finish in Close Hold.
.. TEMPO Samba music is usually played at speeds which vary between 45/60 bars/minute.1
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1. RF fwd. but unfortunately most bands insist on playing Samba music rather fast. flexing L knee at end of step 1 5. The man's left hand and the lady's right hand are held central to the couple just above shoulder level. and SQQ for these figures are very attractive when danced to music played at a slower tempo. 1 2-1 1. The position is rather open and the hips are almost in line. 5.. allowing knees to straighten & 6. LF back.'·'1
'. in place. Note: It will be noticed in the following descriptions that where there is a choice of timing the various basic movements 1 & 2. then allow knees to straighten .1
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PROMENADE POSITION When Promenade Position is used for Samba Walks and in other similar movements. flexing knees.

. Corta Jaca. from Close Hold. Transfer weight to LF. Precedes. Note: An alternative method of timing this figure is to use the count of 1. Close RF to LF . Note 1: It is sometimes convenient to use steps 1-3 of the Natural Basic Movement only and then to dance a figure that commences on LF. still turning to L 2 28
4. in place 2 7.
SAMBA
5.. 6. feet together. & Transfer weight to RF. 2. Close LF to RF turning to R & 9. & 3.. 7. Any figure finished in Close Hold with LF free. when changing from Natural to Reverse Basic Movement. weight on LF. However. Lady 1. IF back . 1 2.. Close LF to RF. . LF back . partner outside 1 Close RF to DF. Note 2: An alternative method of timing this figure is to use the count of 1. Close LF to RF . LF back. A gradual turn to R is made. now square with partner 2 10. RF fwd 1 2. Transfer weight to RF... Natural Roll. Outside Basic Movement. having made t turn to L. Transfer weight to RF. more turn can be made over these steps. from Close Hold. feet together. in line with partner . in place 2 4. Transfer weight to RF. RF fwd. e. 3 and t to R over steps 8.. in place..g.. Man and Lady. 11. (See Follows. Man Count I. Man Count 1. Close LF to RF . 10. Close RF to LF . Transfer weight to LF.. Any figure finished in Close Hold with RF free. Man and Lady. RF to side 1 5. Close RF to LF .. partner outside 1 & 5. Up to t to R over the six steps. outside partner 1 8. PROGlmssIVE BASIC MOVEMENT Commence facing diag to wall in Close Hold. N onnally t to Lover steps 2. & Transfer weight to RF. 1 5. & 3. in place 2 Repeat ad lib... outside partner 1 Close LF to RF . still turning 2 to L 4. & 3.. Finish in Close Hold. RF fwd 1 2. leading lady to turn to R to PP. without a change of weight. then continue with Promenade Samba Walks. 9. Any figure that commences with LF. now square with partner 2 RF fwd. in place 2 Amount of Tum.. 2. Whisk to R. in place 2 4. & 6. in place 2 Repeat ad lib. in place. 9. Natural Basic Movement. in place 2 LF back. Whisk to L. Transfer weight to LF. 1 2. LF to side . having made i turn to L over steps 2. 12. Precedes. & 12. Transfer weight to LF.. partner in line I 11. In this case the feet are closed on the 2nd step without change of weignt. 8. Close RF to LF turning L & 3. 1 Close LF to RF . Follows. Transfer weight to IF. enter step 4 of travelling Boto Fogos. OUTSIDE BASIC MOVEMENT Commence and finish facing wall in Close Hold. After step 3. Natural Roll. Natural Basic Movement. turning to R & Transfer weight to LF. LF back.... weight on LF. 3. Man and Lady~N it
29
. 5. Lady 1.. Any figure that commences with RF.) Precedes. & 6.
RF fwd. Follows. After step 6.SAMBA
Amount of turn. Close RF to LF '" 6. below.... Transfer weight to RF. 6. in place 2 Amount of Tum. In this case the feet are closed on the 2nd count. except that the figure is commenced on the LF and the turn is made to the L.. turning to L . REVERSE BASIC MOVEMENT The Reverse Basic Movement is identical to the Natural Basic Movement. Follows. dance steps 4.

RF to side and slightly back Q Note 1 : The rhythmic interpretation required is peculiar to this figure and is not used elsewhere in the 40
SAMBA basic and standard figures of the Samba. 14.-17. transfer full weight to RF 2 18-20 Repeat steps 12. partner outside . 11..e. to finish facing LOD. S 2.3. 14 abov~' 1&2 Amount of Turn. 9 (Man to face LOD). replaci'ng F fwd Q and slightly to side Q 3. LF hack.. LF fwd. Continuing to turn to L. LF fwd across body Q 6. C?ntrnUl~g to turn to L. dancing five groups of three steps. Note 2: The amounts of turn given above are the practical amounts of turn which. Still turning to L. across body Q 9. S 5. weight on RF. Reverse Turn. Turnmg to L. .. Count Man S 1. Reverse Basic Movement. to L. Natural Basic Movement. 5. Precedes. S 8. under body Q 3. Turn~ng to L. LF to side and slightly fwd Q 4. across body Q 3.. It is possible to commence the figure backing centre and to then make a 1.. Still !urmng to L. Steps 1-3 of Outside Basic Movement. RF fwd. turning slightly to L ..tg to turn to L. Cruzados. . 13. .1. Turn~ng to L. i to L over steps 19. in place Repeat ad lib. LF back. 20. Lady s 1. Step 4 can be entered from step 6 of Outside Basic Movement (see note after description of Outside Basic Movement). partner outside . . Still turning to L. outside partner .
Fellow
BACKWARD ROCKSt
Commence in Close Hold. Follows. ... Turn!ng. Continuing to turn to R. Transfer weight to RF. . 41
Ii
. RF fwd. IF fwd. Transfer weight fwd to RF. The weight is held well over the balls of the feet and if the heels touch the floor they must do so lightly and only then at the end of each step. 6. Steps 1-3 of Natural Basic Movement. Transfer weight fwd to IF. LF to side and slightly fwd Q 7.. 9. When danced using this timing. 8. 3. Steps 4-12 of Outside Basic Movement Steps 4-6 of Natural Basic Movement or Natural Roli commenced with partner outside and finished in lin~ with partner. 2. backing LOD.. Travelling Boto Fogos (Forward and Backward).. Q 6.2. replacing F Q fwd and slightly to side . 2. crossed loosely in front of RF. S 2. RF back. enable the dancer to progress around the dance floor in the normal manner. under body Q 9. LF fwd. RF to side and slightly back Q 7. RF fwd outside partner S 5. t to R over steps 16. Man Count 1. C<?ntlllUl~g to turn to L. Natural Rolls. RF back. 2. if used. LF back 5. Transfer weight back to RF. CRUZADOS C.turn to L on each three steps. O?ntmuiJ?g to turn to L. !Vote: When danced to slow or medium tempo music this figure may. Turning to L. Still turning to L. Step Nos.. Steps 7-12 of Outside Basic Movement.. This construction is not considered very practicable since it tends to block the smooth progress around the floor of other dancers. Carta "Jaca. Precedes. t to L over steps 4. 8. outside partner S 8. LF with weight. in place s 4.. lowering R Hand Q straightening R knee . C?ntmuiI. Man and Lady--} to L over steps 2.. LF back. Still turning to L. t to L over steps 7. LF to side and slightly fWD Q Lady 1. Turning to L.. Still ~ummg to L.6. RF to side and slightly back Q 4. i. Follows. C?ntinuir:g to turn to L. RF back. RF back under body Q 6. i to L over steps 8. 16 and 19. partner outside . 5. be timed SQQ. Amount of Turn. full weight IS taken on the side steps. backing diag to centre against LOD. 13. replacing F to side and slightly back. Man and Lady-t to L over steps 1.SAMBA 17. Transfer weight to LF. Finish in Close Hold. these figures being commenced by stepping forward RF outside partner. turning slightly to L . Each step IS taken on the ball of the foot using a "soft" knee and a slight bounce action which is achieved by pushing off the standing foot from a flexed knee.to R over steps 5. Turning slightly to R. t to L over steps 13. feet apart.ommence in Close Hold. Finish in Close Hold facing diag to wall. t to Rover steos 10.

. 3. RF fwd. RF fwd. After steps 1-3 of Backward Rocks: Reverse Basic Movement. S 3. -t to R over steps 4. Steps 4-6 of Reverse Basic Movement. VOLTA ACrION When first introduced into the Samba the original Volta was danced in Promenade or Counter Promenade Position. Reverse Turn.... LF fwd. Steps 4-6 of Natural Basic Movement.. RF back. moving away from lady.. Natural Rolls. which results in strong tension being felt in the arms. The R hand is allowed to move to a pas on the upper part of the lady's L arm and this pos is retained throughout the figure . Note 3: The Plait can also be commenced on RF. 2. LF back with a slight twist action to R on both feet. 6. with a strong twist action to R with both feet . finished backing L. turning slightly to R . Precedes. LF fwd. (a) If Plait is commenced on LF-Backward Rock on RF. Travelling Boto Fogos (backward). Plait commenced on LF. Note 2: If the man releases hold with his R hand during the first step.. A bold forward poise is maintained throughout the figure. S 2.SAMBA 3... S Note 1: This figure is danced by man and lady with strong pressure into the floor and the weight held well over the balls of the feet. it should be associated with the "Rock" figures and has been named accordingly. Man Count 1... Promenade Boto Fogos. Steps 4-6 of Reverse Turn. lowering L Hand straightening L knee . 42
Q
. . Steps 1-3 of Reverse Tum. Natural Basic Movement.. Transfer weight to LF. with a strong twist action to L with both feet . using the normal hold. Steps 4-6 of Reverse Basic Movement. Precedes. Man and Lady-t to L over steps 1. Since the movement does not contain any pelvic action or other features found in the various types of Samba Walk and since the action required is more akin to Samba Rocks..There is no body turn and the turn in the feet due to the twist action on each step is less than t turn. backing LOD. Steps 4-6 of the Backward Rocks can be entered from steps 1-3 of a Natural Roll. replacing F to side and slightly back.O. finished backing LOD. with a slight twist action to R on both feet S The figure can then be repeated commencing on RF.. Follows. . Transfer weight to RF. S 2. RF fwd. weight on RF. the complete figure may be danced in Open Position. Steps 4-6 of Reverse Turn.
SAMBA Lady 1.. Reverse Turn. (a) If Plait is commenced on LF-Natural Basic Movement. Lady-There }'S no body turn. Q 5. LF back. AmoWlt of TUrn. Follows. Travelling Boto Fogos (backward). Approx.D. Q 4.. 5. -t turn is made with the feet due to the twist action on each step. Natural Roll. . RF hack with a slight twist action to L on both feet S 3. PLAIT Commence in Close Hold. in place Q 4. Steps 4-6 of Natural Basic Movement. in place Q Amount of Turn. The action required 43
~h~
LF back. (b) If Plait is commenced on RF-Reverse Basic Movement. Man. with a strong twist action to R with both feet . Q 6. . with a strong twist action to R with both feet ... :j:This figure is sometimes referred to as the Backward Walks. with a slight twist action to R on both feet Q 4. Steps 1-3 of Natural Roll finished backing LOD. Promenade Boto Fogos. Steps 1-3 of Reverse Turn. with a strong twist action to L with both feet . In this instance in the above description for LF read RF and vice versa. Steps 4-6 of Natural Roll. S 5. RF fwd. Finish in Open Position. (0) If Plait is commenced on RF-Backward Rock on LF. Plait commenced on RF. with a slight twist action to L on 5. Transfer weight back to LF. Note: -t turn to Land R is made alternately each time the figure is repeated.

2 & Repeat step No.. when danced on the spot (usually as a solo turn by the lady) it is called the Volta Spot Turn to Left or Right respectively. 1 2 4. Note 2: If a Travelling Volta to L is followed immediately by a Travelling Volta to R or vice versa. Travelling Voltas to R. also on the spot turning strongly to the left or right. both facing LaD. This movement is the same as the Travelling Voltas to Right. Side Samba Walk on RF from PP. respectively. having danced a SIde Samba Walk on RF. Finishing position depends on amount of turn made during the figure.opposite foot to this figure and moves to the left. 1 2..... 2 & 5. read the description for lady under the heading Travelling Voltas to Right. When danced moving laterally to the left or right it is called the Travelling Voltas to Left or Right. Step No. 6-LF (or RF. T turned out. 7. T turned out. the two figures amalgamate better if the footwork of the last two steps of the preceding Volta is varied as follows: Step No. while making a turn to the left or right. 6. Precedes. (a) If danced without turn: Samba Walk on LF (in PP or Shadow Pos). Man Count 1. Repeat step No. with or without holding. 2 & 7. Finishing position depends on amount of turn made during the figure. Repeat step No. . Travelling Voltas to L. 45
. This movement can be danced moving to the left or right. Travelling Voltas to L. depending on whether the preceding Volta is to Lor R) to side with part weight &. to R for lady) over steps 1-7. in place 2. lady at arm's length on left side.. 1 2.. the man passes either behind or in front of the lady during his movement rightwards. (b) If danced making ± turn to L: Samba Whisk to R. .. .. It is considered better presentation for the man to pass behind! the lady. Repeat step No.
SAMBA Repeat step No. & 3. j: Opened Promenade Position is used to describe the position achieved after dancing a Side Samba Walk on RF from PP.. . 1 2 N ote1: When danced in the manner described above. . or in Close Hold circling to left or right.. in Open Position or Shadow Position. Side Samba Walk on LF. having released hold with right hand.. Amount of Turn. RF to side and slightly back. Repeat step No.. . Move LF sideways to R.2 & 44
TRAVELliNG VOLTAS TO LEFT
Commence with weight on LF. 1 2 Lady 1. .. Amount of Turn. Descriptions of the various methods of dancing this type of Volta Action follow. allowing knees 10 straighten slightly .. across RF. Man and Lady-Nil or up to t (to L for man. 1 1 6. with or without turn.. 1 2 4... with the partner alternately on the inside and outside of the turn. & 3. (a) If danced without turn: Samba Walk on RF. This action and associated shape is very difficult to achieve and unless performed very accurately by topclass dancers a most ungainly movement can result. Repeat step No. Therefore for a description of the man's steps.. Precedes. Follows. Repeat step No. both facing LaD. The modern tendency is to abandon this method of dancing the movement and to introduce another form of the Volta based on a crossing action.. Travelling Voltas to R. compressing L knee ... compressmg R knee . facing LaD. when danced in a circle to Left or Right.
TRAVELLING VOLTAS TO RIGID
Commenc. l\:1ove RF sideways to L. except that it is danced on the . . Repeat step No. LF to side and slightly back. Follows. allowing knees to straighten slightly . Travelli'ng Voltas to L leading lady to dance Volta Spot Turn to L.7-Transfer weight to RF (or LF). danced with lady at arms length on L side. 5. across LF. for the lady's steps read the description for man under the same heading. 1 1 Repeat step No. usually in Close Hold on the same foot the Movement is called the Circular Voltas.SAMBA when danced in this manner is a drawing of the heel of the closing foot to the toe of the stationary foot. Man and Lady-Nil or up to ! (to R for man. to L for lady) over steps 1-7.e in Openedf POP...

on RF. . Turning to R. . allowing knee to straighten slightly & 46 3. Repeat step No.. Precedes. 3 2 Amount of Turn. Lady-Up to 3 complete turns to L over steps 1-7. while himself dancing the Travelling Voltas to L. having danced a Side Samba Walk on RF. Travelling Voltas to R. compressing R knee . Finishing pas depends on amount of turn made during the figure. allowing knee to straighten slightly & 3. 2 If desired this movement may be continued for a further two bars of music after step No. . compressing R knee ..SAMBA Travelling Volt as to R. Repeat step No. Sway. Repeat step No.. curving to L 1&2 & 1& 2 Lady 1. both with weight on RF.. It is optional which sway is used. Travelling Voltas to L. Repeat step No. Repeat step No. 7 above. Checking turn to R. . Side Samba Walk on RF from PP. compressing L knee 2 4. Man Count 1-7 To dance this figure the man leads lady to turn strongly to L on the spot under his upraised L arm. . both facing LOD. VOLTA SPOT TURN TO RIGIIT Commence in "Opened" PP. Still turning strongly 10 R. both with weight on LF. 2 & 5. Natural Rolls. VOLTA SPOT TURN TO LEFT Commence with weight on LF.5.. 3 2 Amount of Turn. 2 & 7. Follows... moving around lady... . . (b) If danced making i turn to R: Samba Whisk to L. . If the L sway is
~~
&
47
. before checking the turn by dancing the movements described for steps 6.. Steps 4. T turned out.. & 3. facing LOD. Finish in Close Hold. Man Count 1. while himself dancing the Travelling Voltas to R. 3 1 6. leading lady to dance Volta Spot Turn to R. 3 1 6. Man-Up to t turn to L over steps 1-7. Continue to turn strongly to R. but sway to L (R for lady) is considered to give the movement the most attractive shape. RF to side and slightly back. Side Samba Walk on LF. Man Count 1-7 To dance this figure the man leads the lady to turn strongly to R on the spot under his upraised L arm.. 5. Finish in Close Hold.. Repeat step No.
SAMBA Continue to turn strongly to L on LF in place. curving to R . compressing R knee 2 4. .. move RF leftwards across LF.. . lady at arm's length on left side. allowing knee to straighten slightly . During steps 1-5 a sway to Lor R (lady R or L) may be introduced. . Lady The steps for the lady are identical to those described above for man .2 & 5. 1 2. T turned out. Repeat step No... Repeat step No. Precedes. 2 & 5. Whisk to L. 2 4. in place. RF fwd and across LF. 2 & 7. Man-up to t turn to R over steps 1-7. Repeat step No. RF fwd and across LF compressing R knee 2. moving around lady. Follows. . . Samba Whisk to R. ... 3 1 6.
Transfer weight to RF .. 1& 2 & 1& 2 Lady 1. Turning strongly to R. Turning strongly to L. The couples' shoulders should remain parallel throughout the figure. Still turning to R. LF to side with part 7. 1 2. CIRCULAR VOLTAS TURNING TO RIGHT Commence in Close Hold. Continuing to turn to R. 6 of Natural Roll. Repeat step No. Still turning strongly to L. LF to side and slightly back T turned out.. LF fwd and across RF compressing L knee .. LF to SIde and slightly back. Lady-Up to 3 complete turns to R over steps 1-7. 1 & 2 & 1 & 2 Note: This figure is danced with the centre of the turn at a point situated midway between the feet of the couple.

. Circular Voltas turning to L. . Repeat step No. LF fwd and across RF compressing L knee . Contra Boto Fogo on RF. 1 to L over steps 5. 7 above. Commencing to turn to L. 2 If desired this movement may be continued for a further two bars of music after step No. Follows. 2. Precedes. 2 & 5. RF to side and slightly back. . General Note: There are. LF fwd. Continuing to turn to R. Commencing to turn to part weight 6.
CONTRA
BOTO FOGOS
Commence and finish in Close Hold. Man dances change of feet movement from pp (RF to RF) while leading lady to dance a Boto Fogo from PP. It is optional which sway is used. Change of feet by man (RF to RF) after Promenade Boto Fogos. . RF fwd outside partner ~d 2. Finish in Close Hold. outside partner 5. 4. Continuing to turn to L. RF part weight 6.. Circular Voltas turning to L. transfer Amount of Turn. 2. Continuing to turn to R. Circular Voltas turning to R. Lady The steps for the lady are identical to those described above for man . . & 3. Follows. Still turning to L. 1 & 2 & 1 & 2 Sway. The Precedes and Follows given after the foregoing figures are offered only as typical examples to aquaint candidates for examination with typical methods used to introduce this type of movement into the Samba. both with weight on LF.. Repeat ad lib. Commencing to turn to part weight 3. allowing knee to straighten slightly .. Man Count 1. ~d 5.. Man and Lady-Approx 1t complete turns to L over steps 1-5. . leading lady to move R. RF to side with transfer weight to LF Count 1 & 2 1 & 2
Lady 1.. Transfer weight to LF .. Precedes... 2 4. Man and Lady~t 2. but sway to R (lady to L) is considered to give the movement the most attractive shape.SAMBA used the L arm should be lowered to a position similar to that used in PP in the Paso Doble. 3 1 6. Change of feet by man (RF to RF) and 48
SAMBA then continue with Boto Fogos in PP or Promenade Samba Walks.. Continuing to turn to L. . Change of foot movement (RF to RF). Contra Boto Fogo on RF. . Commencing to turn to R. LF fwd outside partner.. RF fwd outside partner.5. Man and Lady-Approx 1t complete turns to R over steps 1-5. Checking turn to L. both with weight on RF. numerous combinations that can he used for the amalgamation of the various types of Volta Action. move LF rightwards across RF compressing L knee . Contra Boto Fogo On LF. Repeat step No. During steps 1-5 a sway to R or L (Lady L or R) may be introduced. ... . LF part weight 3.. Amount of Tum. LF to side. 3. Follows. both with weight on LF. Circular Voltas turning to L. Continuing to turn to L. T turned out. while leading 49
.. with transfer weight to RF leading lady to move L.
to side with weight to RF to side with weight to LF
1 & 2 1 & 2
turn to R over steps
Precedes. CIRCULAR VOLTAS TURNING TO LEFT Commence in Close Hold. RF to side with part weight & 7. 6. Amount of Tum. Man 1. Contra Boto Fogos. Circular Voltas turning to R. Turning to L... Contra Boto Fogo on LF... before checking the turn by dancing the movements described for steps 6.. of course. Circular Voltas turning to R. transfer 4..

Dance four Contra Boto Fogos. .. passing behind lady to finish facing LOn. 3 of the Contra Boto Fogos the Circular Voltas turning to L may be danced. releasing hold with R hand . & 1 & 2. 1 & 2 2. 1 & 2 6.. turning to L for four bars of music 1 & 2. Voltas and Natural Rolls are typical examples of figures that are often danced in this manner. After step No. 1 & 2. Carta Jaca.. . leading lady to dance a Boto Fogo on LF SS 3. . . Side Samba Walk on RF from PP. 1 & 2 & 1 & 2 8. .. 1 & 2 7. The following two amalgamations of basic and standard figures illustrate typical methods of introducing the various types of Volta action into the Samba:Amalgamation A Man Count 1. Regain Close Hold and dance steps 4. of course. commencing on LF . 1&2 3. 1 & 2 50 8. To achieve Shadow Position on the 'same~foot'.. Step fwd RF in PP and dance a change of feet (RF to RF). 1 & 2.. for the count of'S'. Side Samba Walk on LF . Commence facing wall in Close Hold. Dance Circular Voltas. Note: The two amalgamations of basic and standard figures given above are so arranged as to t?nsure that. 1 & 2.. usmg normal weight changes. & 1 & 2. commencing on RF 1 &2. then continue with Boto Fogos in PP.. provided the dancers commence at the begI!lning of a phrase of music. 1 & 2. taken with the foot now without weight. Dance four Contra Boto Fogos. or Promenade Samba Walks.. using right or left foot. 1 & 2. 1 & 2. Travelling Voltas to R.. weight on RF. Samba Walk on RF 1& 2 6. . commencing on RF . 1 & 2 2. 5. .. Boto Fogos. all subsequent changes In shape will occur in sympathy with the norm~l Samba musical phrasing. Due attention should . METHODS OF CHANGING FEET IN SAMBA A number of figures in Samba can be danced either in Close Hold or Shadow Position with both partners using the same foot. . turning last whisk to PP facing LOD 1 & 2.. 1 & 2. During this bar of music the partner will have dan~ed a Samba . Foot changes in the Samba are not difficult and are achieved by stepping forward or backward with or without turn..be paid to the subject of musical phrasing when planning the choreography of all dance routines.. to finish in PP in normal opposite foot pas.
SAMBA Step fwd RF and dance change of feet (~F to RF). 1 & 2. Amalgamation B Man Count 1. turning to R for four bars of music 1 & 2. either the man or lady will execute the actual foot change to resume the normal opposite foot position at the end of the 'same foot' amalgamation. ovement approm priate to the figure being danced. curving to R to finish backing LOD. therefore a knowledge of the methods used to achieve the position necessary to dance figures in this way is important. lady at arms length on L side . and dance Promenade Boto Fogos l' & 2. again depending on the construction of the group.counterp~rt and are fully described under the appropriate headings.... Depending upon the construction of the 'same-foot' amalgamation to be danced the actual foot change will be executed either by the man or lady. Typical examples of modern foot changes used in the dance are as follows:1. leading lady to dance Volta Spot Turn to L . the foot without weight is then closed to the standing foot with a change of weight for the count of 'S'. Commence facing wall in Close Hold. Samba Walk on LF in PP . .. 6 of Natural Roll and continue with Natural Rolls SQQ etc. dance four Samba whisks.... Dance four Contra Boto Fogos. (a) The man dances a Promenade Samba Walk on LF leading lady to turn to R under upraised L 51
. & 1 & 2 7.. & 1 & 2 5. Dance Circular Voltas. & 1 & 2.. also. . The following step is then...SAMBA lady to dance another Contra Boto Fogo.. & 1 & 2. leading lady to dance a Contra Boto Fogo on RF SS Lady (Amalgamations A and B). 1 & 2 4.. 1 & 2. 1 & 2. Travelling Voltas toL.. 1 & 2 4. . The steps for the lady are the normal. 1 & 2. 1 & 2 & 1 & 2 5. weight RF.

(a) After dancing the Promenade Boto Fogos. two Contra Boto Fogos (RFLF). Carta Jaca. Open Rocks (to R to L to ~) two Reverse Turns (finish facing diag to wall). with a change of weight completing t turn to R to finish facing man. The following figure may then be the Contra Boto Fogos or Circular Voltas turning to right. Rolls (finish facing LOD). Steps 7-12 of Outside BaSIC Movement. 6 of Natural Roll. (b) The man steps forward RF (8) then closes LF to RF (S) with a change of weight.6 of Natural Roll. Stationary Samba Walks (LF RF LF). St~ps 4-6 of Nat. then two complete Nat. feet together weight on RF. During this movement he leads the lady to dance a Boto Fogo in PP. leading lady to turn to R under his upraised L arm. Shadow Position is achieved at the end of the lady's turn to R.SAMBA
arm to finish in Shadow Position.
SAMBA
Suggested Amalgamations
ASSOCIATE Commence in Close Hold. To regain normal opposite foot position in Close Hold from Close Hold on the 'same-foot'. fwd and back. Turns (finish facing wall). The following figure may be Boto Fogos in PP or Promenade Samba Walks. Side Samba Walk '(RF). finish in PP). Rev.to Fogo~. 5. repeat If necessary. facing against LOD. then closes LF to RF (8). Circular Voltas to R. fwd half of Nat. Promenade Boto Fogos Promenade Samba Walks (RFLF). (a) The man steps forward RF (S) then closes LF to RF (S) with a change of weight. Promenade Samba Walk (LF).LOD) ~ravelhng Boto Fogos (fwd). Volta Spot Turn to L. facing wall. then closes LF to RF (S). completing one turn to R to finish in Shadow Position. Rolls (finish facing LOD). Samba Walk (RF). Regain Close Hold and continue with steps 4. Travelling Bo. 2.
MEMBER OR FELLOW
Commence in Close Hold. two Contra Boto Fogos (LF RF) Circular Voltas to L. feet together. weight on LF. 5. Basic Movement. Whisk to L two Nat.
. plus one or two figures from the Membership syllabus. Promenade Samba Walk (RFLF) . During this movement he leads the lady to dance steps 1-3 of Volta Spot Turn to Right. 3. Prom. two Rev. Boto F~gos Samba Walks in PP (moving down LOD). During this movement the lady executes the foot change by stepping forward RF (S) turning strongly to R. turning t turn to R. Side Samba Walk (RF turned -1 to R to face wall).i
R)
52
53
. with a change of weight. (b) After a Promenade Samba Walk or Side Samba Walk on RF. Basic Movement. Promenade Boto Fogos. 4. Backw~rd Rocks (RFLFRF). from Side Samba Walk (RF) above. Regain Close Hold and continue with Natural Rolls. Change of feet from Close Hold by man. 4. the man steps forward RF (S) in PP. Whisks Carta Jaca (facing wall). two N~tural Rolls (finished facing LOD). Plait (commenced on LF a_nd repeated commenced on RF). two Reverse Turns (finished facing . Change of feet from Close Ho~d by man. Crus ado . Side Samb~ Walk (LF). Whisks (to R ~o L to R. then closes LF to RF (S) with a change of weight. To achieve the 'same-foot' position while in Close Hold. During this movement he leads the lady to dance a Contra Boto Fogo. weight on LF. Turn (finish backing LOD). During this movement he leads lady to turn to right for one complete turn to dance steps 1-3 of a Volta Spot TUrn to Right. To regain normal opposite foot position in Close Hold from Shadow Position on the 'same-foot'. Two Contra Boto Fogos (RFLF) . Open Rock (to Steps 1-3 of Rev. Steps 7-12 of Outside BaSIC Movement (finish facing wall). Roll. Promenade Samba Walk (LF) SIde Samba Walk (RF) Travelling Volta to R.ks.the man steps forward LF (S) then closes RF to LF (S) with a change of weight. (a) The man dances the forward half of a Natural Basic movement. During this movement the lady steps forward RF (S) turning to R. Close RoC.

with the heels just clear of. ~n the lady's back. unless modified. exaggerated.S lost and the lady is held in a position some 9-12 inches away from the man. IS usual for
Associate
Figures marked with an asterisk under the headings of "Precedes" and "Follows" apply only to the Membership and Fellowship syllabus. and the lady s ngh~.
PASO DOBLE
TIME SIGNATURE The time signature of Paso Doble music may be 2/4. weight on left foot. the man's left . Th~ lady's left arm will lay lightly along the man's right arm. still maintaining the soft curve III the arms. following the same curve. this is purely fortuitous since to be useful to the dancer music having a time signature of 6/8 must be played at approximately 60 bars per minute. possible to dance them to music with a time signature of 6/8. of course. It is. 6/8-nonnally one step for each three beats of music. 3/4-normally one step for each beat of music. and steps are taken with some pressure into the floor.2. 2. or lightly touching the floor. 1. should never he danced to music with a time signature of 3/4. BASIC MOVEMENT Commence in Close Hold.
FOOTWORK
The Basic Movement. he should slip the hand to a position at the top of the lady's left arm again maintaining a soft curve along the right arm. When the man or lady or both are moving ~n Promenade Position. 2. but not stiff. The legs are kept straight. The Basic Movement consists of a series of small steps danced forwards or backwards using the Close Hold. WIth the heels lightly touching or just clear of the floor. The Basic Movement may be commenced on the LF or RF (usually RF) and the steps are counted 1. be. TEMPO A tempo of between 60/62 bars/minute competitions and medal tests. movements in place and sideways movements are danced with the weight over the balls of the feet. In any figure if the lady is too far away for the man to comfortably retain the right hand. However. All other steps forward are normally taken with a heel lead. consequently arm movements are mtroduced III such positions. 1.PASO
DOBLE
HOLD
The Close Hold for this dance is similar to the normal hold for English Style.at the normal dancing position cannot be maintained with t~e arms. The steps may be danced straight or curved to the ri&ht or left. USE OF THE ARMS When figures are danced in Promenade or C~)Unter Promenade Position. but these should not. Note: The count given for all the descriptions of the syllabus figures assumes the normal 2/4 time signature. since to music having this time signature each step takes a t bar of music-which happens to be the same as that taken for a step to music with a 2/4 time signature. Consequently these figures. It is obvious therefore. unless otherwise stated in the technical description. 3/4 or 6/8. All the syllabus figures are constructed to match the phrasing of music written with a 2/4 time signature. 1. feet together. th. When movmg III Count~r Promenade Position the man's left arm and the lady s right arm should be raised to j~st above head level. Finish in Close Hold.2. except that the arms !l~e held rather higher with a consequent closer top pOSItIOn. etc. the normal body contact I. The weight is kept over the balls of the feet. 2/4 timing is exclusively used for medal tests and competitions. arm should be lowered to approximately ches~ lev:el WIth the arms held in a soft curve.
me
54
55
.
BEAT VALUES
The beat values of each step if danced to the various time signatures are as follows:2/4-normally one step for each beat of music.

.'-.
56
57
. Dance the Chasses to Right. 2 4. LF to side 2. 1. Follows. 2.. without progression. accompanied by the appropriate lead for the movement to follow. Count Man 1 L Take weight on to RF. 3. The Sur Place may be commenced on the LF or RF (usually the RF) and the steps are counted 1. 2. Man and Lady=-Nil. and it consists of a strong lowering through the RF. Twists. heels in contact with the floor . Sur Place in Elevation. Coup de Pique Couplet. RF to side 1 3. Sixteen. 2 Repeat ad lib. or curved up to t turn to R. tho man normally remains on the inside of the turn. in place 2 2. keeping the legs and feet close together. Close RF to LF . When a turn is made. 2. 2.raight and Step Nos. facing centre. 1. If Step No. Chasses to R. Syncopated Coup de Pique.. Sur Place. 3. RF to side Amount of Turn. I. The movement consists of a series of weight changes from one foot to the other. LF to side 1 3. RF to side .PASO DOBLE SUR PLACE Commence in Close Hold. Sur Place. A gradual turn to the right or left can be made. in place 2 2.2. Man and Lady-Nil. Finish in Close Hold.... Separation.
PASO
DOBLE 1 2 1 2
or curved up to
CHASSES TO LEFT Commence Close Hold facing wall. Man Cour/ 1. Repeat ad lib. Take weight on to LF. the figure may be followed by the Huit or the Promenade Close (A description of the Promenade Close appears after the Promenades. Close LF to RF . feet together. LF to side Repeat ad lib. Chasses to Left or Sur Place. taking tep Nos 1 and 3 high on the toes. 2 and 4 with both knees exed. Precedes. with legs . Close RF to LF . 2 4.. feet together. The loud stamping sometimes heard in competitions is only introduced for effect and should not be overdone.. .. 1. etc. feet together. Finish in Close Hold. Finish in Close Hold.. The lady dances the normal opposite reacting to the man's lead.. feet together. Since the lady will therefore be on the outside of the turn she Wlill take very small steps to side on alternate counts to maintain her position in relation to the man. weight on left foot. Syncopated Separation. Precedes. Amount of Tum. Lady 1... La Passe. closing RF to LF for count of 1. APPEL Commence in Close Hold. weight on left foot. The Appel is usually danced on the man's RF. Promenades. 1. Finish in Close Hold.) ELEV ATIONS TO RIGHT Commence in Close Hold. LF to side 4. these are as follows:-ian and Lady Count Iethod (a). weight on left foot. . 2. The foot without weight must not be lifted from the floor. This is a fundamental movement of the dance and is often used to join one figure to the next. CHASSES TO RIGHI' Commence in Close Hold. weight on left foot. The Appel is a preparation step normally used as an indication to the lady that a moving figure is to follow. Close LF to RF . Follows. Close LF to RF . facing centre. weight on left foot. RF to side 4. -} turn to L. Sur Place.4 is taken to side in PP. Coup de Pique (R to L). There are three methods of dancing the Elevations to Right. Lady 1 1. feet together. Syl'labus figures that require the Appel to be used as the first step are as followsr=-Attack. Close RF to LF .

step in place on LF. Man-t to R on step 2.2. step in place on RF 1 8. Dance the Chasses to Right. feet together. weight on left foot. legs straight 1. 2 Lady 1. 2. or curved up to t turn to L.. ELEVATIONS TO LEFT Commence in Close Hold facing wall..4 high on the toes. heels in contact with the floor. Lady-t to L over steps 2. 2 Repeat ad lib. Turning lady square. Man Count 1. 2 Repeat ad lib. Finish in Close Hold facing wall. 2 with both knees flexed.. 1. Elevations or Chasses to Right. 1 and 3 with both knees flexed. There are three methods of dancing Elevations to Left.1. Finish in Close Hold. t to 1... Dance the Chasses to Left. RF fwd and across body 2 5. close LF to RF. Leading lady to R side. 6. 1. RF fwd and across in PP 1 2. Follows. legs straight 1. RF fwd 1 2. Leading lady fwd. . 2 high on the toes.. 3. Precedes.2. LF fwd and across in PP 1 2. 1. step in place. high on the toes. Step in place on RF. the figure may be followed by the Huit or the Promenade Close.
DEPLACEMENTS
(ATTACK)
Commence in Close Hold facing in any progressive position. 1. Man and Lady-Nil. Commencing to turn to R. commencing to turn L '" 2 3. Commencing to turn to L.2.. heels in contact with the floor 1. 3. Man and Lady=-Nif. 1 4-6. heels in contact with the floor and Step NO's. 4 is rtaken to side
in PP. Method (c).2 Repeat ad lib. If Step No. 2. Sur Place or Chasses to L. Dance the Chasses to Left with both knees flexed. then repeat the Chasses to Left high on the toes.1. . Follows. 2 7. 1. rising on to balls of feet . Turning square to partner. regaining Close Hold . taking Step Nos. 2 59
58
. Dance the Chasses to Left.2. with legs straight and Step Nos. Elevations to Left or Sur Place. feet together. heels in contact with the floor and Step Nos.2. Sur Place. Man Count 1. legs straight 1. LF to side 1 6. 3. 1. taking Step Nos. with the last step taken to side in PP. 1.. Precedes. Continuing to turn to L. then repeat the Chasses to Right with both knees flexed.. having taken the last step of the preceding figure to side in Promenade Position. 2 Amount of Torn. Sur Place. Sur Place. over steps 7. Finish in Close Hold.
HUIT
Commence in Promenade Position facing diag wall. legs straight.PASO
DOBLE
PASO
DOBLE
Method (b). transfer weight to RF 2 7.. Close LF to RF. 2 Repeat ad lib. Note: The Elevations to Right may be danced commencing with the "down" action. Dance the Chasses to Right. . t to R over steps 5.1.2 Repeat ad lib. lady still on L side . weight on left foot. 2 and 4 high on the toes. these are as follows:Man and Lady Count Method (a). taking Step Nos. 1 4. 8. transfer weight to LF 1 4. leading lady to L side . Follows. Method (c).. RF to side 2 3. Amount of Turn. 2 3. Amount of Turn. Precedes. 1. closing RF to LF for the count of 1.. heels in contact with the floor . Turning to R. Continuing to turn to L.. LRL 2. weight on iF. LF fwd. Method (b).2. Continuing to turn to R. 1. or curved up to 1 tum to R. .. 4 with both knees flexed.1. 2.. LF fwd towards partner . close RF to LF . Sur Place. RF to side .. 1 8. There are four methods of dancing this figure and these are described below. followed by the "up" action. .

the lady therefore will tend to take a small step to side on steps 3 and 6.. 2. Still turning to R. attaining maximum height on last step . weight on LF.. LF to side and slightly back 1 8. . Continuing to turn to R.. The normal hold with the right hand is regained at the end of the figure when moving into PP. lowering to original pas 2. step No 6 is taken in CPP moving down LOD. 2. Man t to L on step 2. however. 7. weight on LF. Turning to R. RF to side in PP . Any figure that commences from Close Hold with the man using RF on the l st beat of the bar. Precedes.. mark time LRLR rising to toes. t to L on step 8.. 1 7. flexing knees and turning body slightly to L 1 2-5 Turning gradually to R. PROMENADES (PROMENADE AND COUNTER PROMENADE) Commence in Close Hold. The figure may be danced after any movement that finishes in Close Hold. RF fwd . one must be on the outside of the turn and therefore have a tendency to open the feet as the turn is developed. . Lady-t to R on step 2. 1. rising to toes. More practical amounts of turn which allow the figure to be commenced facing wall and finished moving towards centre in PP are as follows: Man-t to L on step 2. Still turning to R. t to R over steps 3-5. Turning to R. 1.2.. RF to side in PP 1 3. mark time RLRL. t to R on step 7.. N oltel: The amounts of turn given above are the accepted standard for the purposes of the technique. in contact.. Sur Place in Elevation.. Appel on LF 2 2. . RF fwd. feet together. attaining maximum height on last step 2. RF fwd and across in CPP. commencing to turn 1 to R . Ladyt to R on step 2. t to Rover steps 3-5.. 1 6-8 Turning gradually to L. The man will have more control over the movement if he keeps his feet together and remains on the inside of the turn... t to R over steps 6-8. . 3.. t to R on step 7. Finish moving against LOD in CPP. Lady 1 1. 1 5. LF fwd and across in PP 2 4. Man and Lady. Appel on RF 2 2.
62
63
. LF to side in PP . t to L over steps 6-8. Note 2: To facilitate ease of movement and to assist the creation of a good "line" when moving into CPP. 2. Continuing to turn to R. The following are approx overall amounts of tum:-i to L on step 1. leading lady to PP 2 8.PASO
DOBLE
II
Melnber
.. man with RF free to step on the l st beat of the bar... facing wall. mark time RLR. 1. 2 Amount of Turn. Precedes.. Note: As the name of the figure implies... When the figure is over turned in this manner. Appel on LF. LF to side in CPP 6. Basic Movement.1 6-8 Turning gradually to L. .... In practice. lowering to original pos . 2 Amount of Turn. Appel on RF. t to L on step 5. t to L On step 8. these amounts of turn are seldom used since they do not allow for progression around the dance floor. but since both man and lady are turning in the same direction. ! to R over steps 3-5. t to R over steps 2-5. 1. flexing knees and turning body slightly to L 1 2-5 Turning gradually to R.. commencing to 2 turn to R . feet together. LF to side and 2 slightly back . RF to side in CPP . During this figure the turn is made more with the body than the feet. the man may allow his right hand to move from the lady's shoulder blade to a position on the upper part of her left arm. Sur Place. t to R on step 4. LF fwd and across in CPP . LF to side in PP .
Count Man 1 1. 2 Lady 1. mark time LRL. RF fwd and across in PP.1
PASO
DOBLE
SUR PLACE IN ELEVATION Commence and finish in Close Hold. 4. . Follows. t to R over steps 6-8. Man Count 1. 2 6.. the action throughout is that of the Sur Place.. 1 5.

. LF fwd and across in PP 1 6-8 Walk fwd RLR circling to L. 1. 2 Amount of Turn. facing centre. 4. Close LF to RF. close RF to LF 2 t A description of the Grand Circle is as followsc-sMan Count 1.1.2... Footwork. t to Lover steps 18-20. t to L over steps 9-12. weight on LF.2. 1 2-6 Dance the Basic Movement fwd... 18 the arm is gradually returned to Close Hold pas over ~teps 19.. Transfer weight fwd to RF . Basic Movement. LF to side 1 20.. regaining Close Hold .. curving to L tracing same line as lady '" . turning lady square and lowering L arm . Close RF to LF . 1 18. 1 2..5 is taken with a heel lead. moving partner away. commencing to raise L arm . the resulting shape traced out by the complete figure is that of a letter "U"..2. close LF to RF. Precedes... . LF fwd in PP (H lead) . Chasses to R. ECART ET VERONIQUE Commence in Close Hold. 1 6-8 Without untwisting feet. Cross RF behind LF in a "flat whisk" pos 2 5. flexing knees. . Man-Step Nos.. Lady-t to R over steps 3. 2 3..PASO
DOBLE
PASO
DOBLE
Follows.. 1 2-6 Leading lady to circle fwd. Ii.. Finish in Close Hold. } to L over steps 18·20. Continue with Promenade Close.. LF fwd. lead lady to circle fwd to L side.. 2. 1. This means that if the figure is commenced. Grand Circle.1.1. Promenade Close. to L over steps 3. Cross LF behind RF in a "flat whisk" position 2 5. 1. and during these steps the knees are straightened. 2 64
9-12 Continuing to lead lady to circle fwd On L side untwist. crass LF behind RF. close RF to LF 2 19. Turning to R to face partner. (a) When danced using the minimum (standardised) amounts of turn. remainder on balls of feet.. .. '. Basic Movement. Sur Place. 1. RF fwd and across in PP 1 2. Sur Place. Continuing to tum to L. Appel on LF 1 2.. . 1.. weight on LF.j Grand Circle. From this position follows are: Huit. Sur Place in Elevation. LF fwd and across in PP 1 2. . 2 Note: After lowering the arm on step No. H to L over steps 13-17. just above chest level 2... 2 19.. 20. remainder on ball of foot.. RF to side . Lady-Step No. ! to Lover steps 6-8.2 Lady 1. facing centre. 1 4. slowly untwist to L to finish in PP 2.to L over steps 13-17. to partners L side .1 18.2. feet together.1. 12 . t to L over steps 9-12. walk fwd RLRLR.. I. Man=-]. Turning to L to face partner. regaining Close Hold . facing wall. as is usual.2.. Still turning to L. t The Promenade Close consists of two steps danced from PP as follows:Man Count 1. 2 3... Finish in Close Hold. Sur Place in Elevation. 1 20. RF back . ..2. t Repeat steps 3-8 of the Promenades to complete a square shape and to finish moving down LOD in PP. Man Count 1. allowing L arm to extend across front of lady's body.2 Up to t tum to L is made over steps 2-6. facing the wall..2 13-17 Still leading lady to circle fwd on L side.1. Follows. it will be finished in PP moving against LOD. 4. 1.. IF to side 1 4. Promenade Close.2 9-17 Continue to walk fwd LRLRLRLRL circling to L on partner's L side 1. Lady 1.2. 2 and 5 are taken with a heel lead.. RF fwd and well across body in PP . 65
. Chasses to L. Appel on RF . circling to L. .. turning to L. Still turning to L. transferring full weight to LF on Step No. 2.1. feet together. (b) When overturned to finish moving towards centre in PP: Huit. but retaining hold with both hands ...2. RF to side.. facing wall.. LA PASSE Commence in Close Hold. 2 Lady 1. for RLRLR '" 2.. .

.. hips in line but not in contact. 3.. Basic Movement.. 5..to R over steps 13... 15.. . t to R over steps 7. . Man Count 1. Continuing to turn to L. . . .. Step in place on RF 1 4. lady still on R side . preparing to step outside partner . body arched to left (lady to right).. Note 1: Having attained PP on step No. . 2 13. weight on LF... 2 15.2. Continuing to turn to R. Sur Place in Elevation. .. Commencing to turn to L RF to side and slightly back ' 11. . Note 2. Finish facing centre on lady's right side. The right hand is held On the upper part of the lady's left arm and the left arm is outstretched across the front of the lady's body at an angle to the floor. but with the man advancing on step Nos.. 1 14. LF to side and slightly fwd . 2 11. Chasses to R... . In both the starting and finishing position the couple look towards each other... RF to side and slightly fwd . . . 8. LF fwd.. LF to side and slightly back . LF back. passing to lady's R side. 6. Hesitate. t to Rover steps 3-5. Hesitate..... . . Hesitate. 8.. RF fwd. Step in place on LF 2 5. turning lady square and regaming Close Hold 2 Lady 1. Appel on LF 2. continuing to lead lady to R side ". leading lady fwd to L side '" .. Hesitate. Appel on RF 1 2... 1 8. 12. Hesitate... LF to side.. is being lead from PP to CPP throughout the figure.. R shoulder leading 1 6.. . LF to side and slightly back .PASO DOBLE Man Count 1. . Man-t to L on step 2.. Lady-t to R on step 2. . Sur Place in Elevation. f to L over steps 10. with lady on left side.. Alternatively the left hand may be placed on the lady's right hip.. . Commencing to turn to R. 2 7.. . the arm movements used by the man during the figure are as described in the paragraph entitled "Use of Arms".. in effect... RF fwd and across body outside partner . LF fwd continuing to lead lady to L side . LF to side and slightly back . RF fwd '" . Step in place on LF 2 3. flexing knees 1 6.. RF fwd and across body 13. -1. feet together. . '" 9. . . This figure is similar to the Sixteen. 5. commencing to turn to R . RF to side in PP . still maintaining hold of her right hand.. leading lady fwd to R side '" .. . 11. Sur Place...14.. . t to R over steps 6. body arched to right (lady to left). 4. 14. RF fwd to centre.... . steps 3-14 inclusive are danced with the lady held 6-9 inches away from the man. Still turning to R... . . . partner outside. If the lady is led to the man's L side during steps Nos. lady still on R side . . 15 and 16 the Banderillas may be used as the following figure. LF fwd towards partner .. . Sur Place.. .... .. 7... 2 5. 16... '" 2 9. Turning square to partner. . leading lady fwd to R side '" .... Commencing to turn to R. Continuing to turn to R. . t to R over steps 4. . Continuing to turn to R. Precedes.. continuing to lead lady to R side . close RF to LF .. leading lady fwd . . 7. just above her left hip. LF fwd and across body 10. LF to side in PP . This commencing position is achieved on the last step of the preceding figure.. . RF back.. . . 2 3... Hesitate. Still turning to R. . . 7. straightening knees (assuming hold described in para 2 above 2
2 1 2 1
2
2 1 2
67
. . BANDERILLAS Commence facing centre. 1 12. t to L over steps 15. The right hand is placed on lady's waist. Commencing to turn to R. Continuing to turn to R.. 10 and 13... hips in line but not in contact. . 1 10. LF fwd and across in PP 4... . '" .' .. . .. Cl~ls~ LF to RF.. Basic Movement. 1 16.. Since the lady. 16. with the left arm held approximately in the normal dancing position. Step in place on RF 1 2. Follows. lady still on L side . . . 66 1 2 1 2 1 2
1
PASO
DOBLE
Amount of Tum. Continuing to turn to R RF to side and slightly fwd .. . RF fwd and across in PP.. Step in place On RF.

6.. LF to side and slightly back.. each being completed by leading the lady to left side and assuming the position described above for the commencement of the Banderillas. 2 12.. weight on RF.. Step in place on LF 2 Lady 1.... . Footwork.. LF fwd. RF back. . circling to L around partner 19.... 2 17. RF to side and Q slightly back . Jeading lady to move to L side.. Point RF to side. . . 4.. Finish in Close Hold facing mag centre.2 5. 1.. 1. 1. leading lady to move away to arms length.. . . without weight & 11. Continuing to tum to L. Continuing to turn to L.PASO
DOBLE
PASO
DOBLE
7. un~wis! turning to L. 2 3. . 2. preparing to step 1 outside partner .. Step In place on LF 1 4. Repeat step No. Close RF to LF . leading lady to step fwd outside on L side '" . Step in place on RF 2 3. Count 1-4 Dance steps 1-4 of the normal Separation (but see Note 1) .... 1 10. Close RF to LF . Repeat step No. s 15. . . 2.2.. 3. Step in place on LF. 7 and 8 the man is high on the toes. Finish in Close Hold 2. Repeat step No. 2 5. Amount of Turn. Close LF to RF .
Man.6 & 9. feet together.5 2 8. 1 8.. Transfer full weight to RF. Step in place on LF .. Commencing to turn to L.. ..5 2 8. but retaining hold with both hands . 14.. without weight 13. 2 12.. well under body. The Huit. .F to SIde and slightly fwd . Man and Lady-t to L over steps 4-8
Fellow
SYNCOPATED SEPARATION Commence in Close Hold backing LOD.... LF back well under body 16. leading the lady to step fwd.... leading lady to move f..... Step in place on LF 1 2... LF fwd. Step in place on RF '" 2 Amount of Tum. well under body with a slight ronde 2 action from the knee 1 7. 13. . Point RF to side.d 1!1 circle to L 1. without weight. RF fwd and well across LF. Lift LF from the floor and place it fwd well 1 across RF . On steps 1.. 1.1. RF back well under Q body... 1 10. without weight & 11. Lady The lady dances the normal opposite... Q 15... lowering L arm . LF fwd and across Q RF outside partner 14. 1 8. weight on LF. RF to side and slightly fwd. . Close LF to RF . straightening both knees 2 7. the arm is gradually returned to Close Hold pas over steps 3-8. 6. Sixteen or La Passe. Point LF to side. Step in place on RF . LF back.6 & 9. 1 19.. in line with partner (or outside part2 ner on his L side-see Note 2)
68
69
.2.. Repeat step No. The Banderillas can best be followed by the movement described below:Man Count 1. dance the Basic Movement (LRLRL) leading the lady to finish in line. 2 Note: After lowering arm on step No. with slight ronde action from the knee .. 1 6.. .. 2 5. III line and regain Close Hold (or lead lady to 2 step fwd outside on L side+see Note 2) .. slipping the foot slightly back. Lady ]-4 Dance steps 1-4 of the normal Separation 1.. .. l. RF fwd outside partner. 2. .. Follows.. . Commencing to turn to L. Close RF to LF . . partner outside . 4-8 Moving backwards and curving to L. Man and Lady-Nil.. under body. 1 2. Lin RF from the floor and place it fwd well 2 across LF 1 7. RF fwd. . . Point LF to side.... Precedes. The lady is in a less elevated position. circling to L around partner 1 18. RF back. . flexing both knees. 1 6. outside partner S 16-18 Keeping both feet in place.. Step in place on RF. .:.. 2. ...

f~~t to~ether. TWISTS Commence in Close Hold. In general. the s1. 8. This figure may be finished with the lady in line or outside on L side.. Repeat Step No.10. Q 5. II. 13.. keeping'both feet in place. t. timed 2 & 1. Precedes. 7..1. e. i. .9. Sur Place in Elevation. but reS taining hold with both ~ands . 1. 2 for man. turning sharply to ~ .7. 1. Turning to R. Deplacement (or Attack) finished facing against LOD. LF to SIde and slightly back. t. weight on LF. ..2.step having the value of a t-beat and normally this indicates that the preceding beat has been split. 1. therefore.t. 1..5.e. IF to side in PP . A loose hold (man's R hand
PASO
DOBLE
"and" or '&" is used to denote the step with the i-beat value. Separation. 16.. Still turning to R..t. . With the exception of step No. 19 Beat Values 1. Step Beat Values: Step No. 6. .. 1. it will be regained on step No. Steps 2. Continuing to turn to R. Appel on RF 2 2. the first beat is required to be evenly split. General NOlIe: It will be noticed that a mixture of timings is used in this figure.to fa.. close RF s to LF
s
71
.. 7 12.. . QQS and &1&2. 14. 15. Syncopated Chasse (LF fwd---Count 1..8. 18.. RF fwd and across in PP. the foregoing rules relating to. Sur Place in Elevation. The beat values of the three steps forming the movement would therefore be t. leading lady to move away to arms length.. 14.4. Separation. 1. s regaining Close Hold Q 9. Note 2. . Follows. commencing to turn to R . ... Amount of Tum. Untwist turning sharply to R to face LOD.6.3. 1 respectively.. 5 Q 10. Repeat Step No. 1. Note: This figure may also be commenced facing the LOoD. I' . Consequently the timing of a movement of three steps to be danced to a bar of Paso Doble music in which. Finish WIth weight Q on LF 15. in which case precedes are:-Sur Place. . 1. 1. followed by Chasses to Right.lIttHW of beats can be applied to all figures.. 17. Chasses to Right (curved to face against LOD). . Basic Movement. Repeat Step No.. 3.. facing wall. WIth the exception of the Cha Cha Cha-r-in this dance th~ word "and" or "&" is usually used to denote a step having the value of a i-beM.5 . 4 of Deplacement (or Attack). 1 Footwork.. 1.ce ce~tre. RF fwd outside partner.. Untwist.. ! to L over steps 16-19. The steps would then have beat values of t. LF to side and 2 slightly back . cross RF behind LF . will be commenced either "in line" or outside partner on her L side. t. 2). 4. t.. The figure used to follow. .PASO DOBLE on the upper part of the lady's L arm) may be retained from the end of the first 4 steps of the normal Separation throughout the remainder of the figure. depending on the position used to finish the Syncopated Separation. Repeat Step No. In general.. l. Man and Lady-t to L over steps 13~15. consequently if the timing of a movement of three steps is given as "1 & 2" the "&" denotes ~e .. weight on RF. 3. Sur Place. When a movement requires a t-beat split the word 70
Note 1. t. 15.. say. . The reason for this is that this figure contains a number of movements with differing beat values. 1. -t. keeping both feet in place. then use is made of the "QQS" terminology.g. i. if it is necessary for a beat to be split and the beat split is required to be even. ~imed III this manner in the Latin American dances. down LOD. 12. Finish with weight Q on LF . all the steps in this figure for man and lady are taken on the ball of foot. . 1. Count Man 1 1. . 2. Continuing to tum slightly to R. commenced facing LOD. Finish in Close Hold facing diag to centre. 8 Q 13. If the hold with the R hand is released during the first 4 steps of the normal Separation. t. followed by Sur Place using LF on the 1st beat of the bar.. I' A short chapter on the subject of timing in re ation to beat values is given at the end of this book (see page 119). 6 S 11.. would be referred to as QQS. Repeat Step No.

. 1. for Step No. Sur Place using LF on the 1st beat of the bar. or finish with the man's weight on the RF so that the following movement is taken on the LF on the first beat of the bar. t to R over steps 9..1. t to R on step 7: 8. 8 S 13. Continuing to turn to L. t to R on step 15. 1-.. 2 & 1. LF fwd and across in PP ... ito R on step 14. some of the more advanced figures and variations currently used require the man either to start using bis LF on the first beat of a bar. RFto side in PP '" 2 3. t.13. R. 2. Follows. but during the four beats of music used two weight changes are made in the time of one beat of music.PASO
DOBLE METHODS
PASO
DOBLE
Lady 1. Repeat Step No.. Repeat Step No.. 1 Footwork. Continuing to turn slightly to R. The timing therefore becomes 1. 1.to R on steps 11. Commencing to turn to R.1... LF back.. 5.8. t.. .6. Still turning to R.5. The Syncopated Chasse. t to R over steps 11. A one-beat hesitation before Place on the opposite foot. RF to side 3. 1. Amount of Turn. Basic Movement. Count 1 2 & 1 2 3. 13 and 14. these are as follows:1.G FEET IN THE PASO DOBLE The construction of the majority of basic and standard figures in the Paso Doble is such that the man is required to commence each figure using his RF on the first beat of the bar of music and finish with his weight on the LF ready to commence the next figure again on the RF on the first beat of a bar. . LF fwd 2. Sur Place is then continued with the man using his LF on the first beat of each bar of music.9.5"... close RF to LF (Heel turn) S 9. 6. Sur Place. 1. This method of da~cing the figure IS more natural due to the strong checking action required from the man at the end of the movement.. 14 with weight on RF and then to close LF to RF without wei·ght. . partner outside .15 Beat Value 1.4. There are a number of methods that may be employed to affect a foot change. t to Rover steps 3-5. RF fwd 2 5.. Appel on LF 1 2. LadY-l to R on step 2 {-to R on step 4. Q 6. 10. . Turning to R.. 12. 6.11.. .
73
. Repeat Step No. . Q 7. 1 4. Consequently five weight changes are made during the four beats of music. 5. L.. 7 S 12. followed by a change of foot movement or a change of foot movement without Sur Place. Precedes. RF to side . 6 Q 11. Sur Place in Elevation.. Man-t to L on step 2.14.3.7. 1. 72
OF CHANGIN. Similarly if the first Sur Place was commenced using 'the LF the following Sur Place would be commenced on the RF. continue as followsr-eMan 1. 1. Lady The lady dances the normal opposite. Note 2: The turn made on steps 7 & 11 OCCursvery late. . . S N otel: An alternative method for the man to dance the las~ two steps of this figure is to finish Step No. All steps are taken using the normal footwork as described in the paragraph headed "Footwork".. . Still turning to L. J to R on step 10.. Left Foot Variation. 14. LF fwd preparing to step outside partner . 15.
The normal Sur Place movement is danced.1. Step Beat Values: Step No. close LF to RF '" . Repeat Step No. . except that the lady uses toe for step Nos. 1. 5 Q 14. 8.. Suitable change of foot movements are: Coup de Pique... Continuing to turn to R. 10.. 9. In view of this. L. 6 Q 15.12. t to R over steps 13. Close LF to RF . . t. when developing the choreography for a Paso Doble routine it is necessary to have a knowledge of the methods available for changing feet. S 8. Repeat Step No. RF fwd outside partner . Repeat Step No. However. .. . continuing with Sur
2.. R. The Syncopated Sur Place. t to R on step 15. Commencing to turn to L. 12.. t.10. changing from LF to RF. Having completed a preceding figure in Close Hold with the weight on the man's RF on the second beat of a bar.. 2 to weight changes on R.to R over steps 7. t..1. close LF to RF 4.to R on step 6. t to R over steps 5. 9.. 13.. Q 10.

Note 2. . 3.. weight on RF. 2 8. . 2. i. 4.. facing the same direction. The Left Foot Variation. 1. (b) The Coup de Pique-changing from RF to LF. . .. 1. . weight on LF. Lady-R on Step 6. RF fwd. The name usually aI?plied to this combination is The Syncopated Coup de PIque. Step Beat Values: Step No. e. Point LF to side without weight.. four different types of Coup de Pique... It has no particular name but is sometimes referred to as "the Left Foot Variation".. The main use of the Coup de Pique is to enable the dancer to change feet. Point RF fwd. 5. Finish In Close Hold. Beat Value 1. turning shoulders slightly to R . feet together.. 6. regaining Close Hold 2 NOlte 1. turning shoulders slightly to R 3. 2 8. Con:menc7 In Close Hold. 1 9. There are. .. If a .. Close RF to LF . Twists. 1.... is followed immediately by another Coup de Pique commenced on the LF. leading lady away.. 3. If a COl!P de ~ique. 5. then the following Sur Place will take place with the LF being used on the first beat of the bar. 1. 1. Man Count I. but retaining hold with 1 both hands 2 4... Close LF to RF . LF to side . lowering L arm 1 7. Man and Ladv+-approx -t to L... . Close LF to RF . Commence in Close Hold.. . After Iowering the arm on Step No.. A similar result is achieved if a Coup de Pique commenced on the LF is followed immediately by a Coup de Pique commenced on the RF.. 7. . weight on LF. so arranged that no overall change of feet occurs.PASO DOBLE
Amount of Turn. 2
74
75
. point RF fwd In PP. . RF back. Descriptions of these four movements are as followsr-s(a) The Coup de Pique-changing from LF to RF. turning shoulders slightly to L 2 2. Point RF to side. Sur Place in Elevation. LF fwd preparing to step outside partner.1. . Turning to PP.. 1.. Lady 1. Sway. Basic Movement. . it is sometimes used as a figure in its own right. t.6. 4. RF back . LF fwd. Chasses to Right. Man+-L on Step 6.. The Coup de Pique..Coup de Pique is commenced using the LF. The sway is lost gradually over steps 7-9. Man and Lady+-Nil. Another method of introducing a Coup de Pique action w!thout a foot change is to dance steps 1-5 of a Coup de PIque commenced on the RF and to follow this immediately with a syncopated side chasse.: The slig~t turning of the shoulders on steps 1 and 2 IS used to introduce a swaggering effect to the figure. turning shoulders slightly to L . The following is a description of another movement that may be used for changing from "left foot" to "right foot". . Close RF to LF . there is no overall resultant change of feet and the Coup de Pique couplet becomes a complete figure in its own right. facing in any progressive pas... Follows. outside partner & 5. . without weight . LF to side 1 2. & 6. RF to side 1 9. the arm is gradually returned to the Close Hold pas over steps 7-9. Count Man 1 1. partner outside 2 5... weight on RF. 1 4.. 6. without weight 1 7. feet together. Precedes. 8. LF back... Finish in Close Hold. without weight. Sur Place. 2 Amount of Turn..... Close RF to LF .
PASO
DOBLE
Note 3: The figure may be danced with steps 3 and 4 taken in line with partner.. therefore. (c) The Coup de Pique Couplet. Any figure that finishes in Close Hold. I 2 2. namely:(a) The Coup de Pique-changing from LF to RF. the followmg Sur Place will take place with the RF being used on the first beat of the bar... (d) The Syncopated Coup de Pique.g. the man with his LF free on the first beat of the bar of music.. without weight. although as explained later. 9. Continuing to turn to L. Close LF to RF. If the figure is commenced using the RF.. Point LF back. danced commencing on the RF.

Continuing to turn to R. Turning to R... Sur Place. Lady-:\. .. Man Count 1-5 Dance steps 1-5 of the Coup de Piquechanging from RF to LF ..to R on Step 3.. Follows. 8. 2 S. Transfer weight to LF in place Lady 1.
PASO DOBLE
on Step 4. RF to side in PP . 1 6. 5. using LF on first beat of the bar. weight on LF and dance a Coup de Pique-changing from RF to LF. . i.to R over steps 1.. RF to side 1 9.' . point RP fwd in PP. then follow immediately with a Coup de Pi'que-changing from LF to RF. 2.. close RF to LF. t to R
76
77
. Turn~ng <toL. I. RF to side... Commence and finish in Close Hold. ..... Man Commence in Close Hold.. 4.. close LF to RF . Sur Place.. t.. . . Man-e3. 1.. Turning to L. & 8. 1.. Close LF to RF . (c) The Coup de Pique Couplet. (d) The Syncopated Coup de Pique. facing wall... 1.. . 1 6. . Continuing to turn to L. I. leading 2 lady to fallaway '" . t to L on Step 5. ... weight on LF. 1 4. Finish in Close Hold. Commence in Close Hold. ~. 5. . Sur Place. Turning to R. feet together. feet together. Precedes. Transfer weight to RF in place 2 Amount of Turn.to R on Step 5... LF back in fallaway ".PASO DOBLE
Turning to R. . Basic Movement (curved to
t to L over steps 2. .
Suggested Amalgamations
ASSOCIATE
Commence in Close Hold. Follows. weight on RF. Man Count 1. t to R OD Step 6. 3.. Step No. using LF on the first beat of the bu. Sur Place. LF to side in PP '" . . (b) Coup de Pique-changing from RF to LF. Ladyt to R over steps 2. 6. . Turning to R. leading lady to 1 tum square 4. Turning to R.. weight on LF. On Steps 1-5 as for Steps 1-5 of Coup de Pique-changing from RF to LF. Turning square to partner. close LF to RF 2 Amount of Turn.. 2 Lady The lady dances the normal opposite during these nine steps.1.. . close RF to LF... RF to side in PP . 1 4.. . 2 3... 2. Appel on LF 1 2. i to R (lady to L) on step 6. -i. 1. Turning to R. Turning square to partner. Sur Place. feet together.. t to [L on Step 3. Turning to R.. Sur Place. 2 3. t to R on Step 4... without weight. t to R on Step 5. Follows. ... leading lady to turn square 2 Lady 1. feet together.\ to L on Step 6. point LF fwd in PP. close RF to LF. Sur Place. weight on LF. Follows. Finish in Close Hold. i to L on Step 5. 3.. 2 3. . weight on LF.. .F fwd in PP. Continuing to turn to R. 1 2. Man-i to L over steps 1. . 't to L on Step 4. Lady The lady dances the normal opposite during these twelve steps.. i to L on Step 4. Basic Movement. Precedes. Turning square to partner. 7. 1. leading lady to turn square 2 7.. 1 Precedes.. 2. LF back in fallaway. Close LF to RF .. RF back in fallaway '" 2 5. 9 Beat Value 1. 2. leading lady to 1 turn square 2 6. .. 1 6. close RF to LF. leading lady to turn square 2 5. . Twists. . 2. RF back in fallaway . point l. Appel on RF 1 2. . . Amount of Turn.. Steps 7-9 may be taken without turn or curved up to 1 to L. without weight...... Turning square to partner. 3.. . without weight . Sur Place.. close LF to RF 1 6. .. Precedes. close LF to RF 1 4.. Sur Place.

Placings and amounts of turn given for the following basic movements should only be considered as approximate and the dancer must be allowed scope for individual interpretation. the musical accents occurring on the 2nd and 4th beats of the bar. followed by one Jive Chasse timed Q&Q. Eeart et Veronique. Bask Movement (curved to R to face wall). Sur Place. Sur Place.
JIVE
The time signature of the music is 4/4. Sur Place. Separation. Chasses to L with Elevation (curved to L to face against LOD) . Separation.bly o~er a very wide range of tempi. Sur Place (turned to L to finish facing wall). LF Variation. Sur Place. from Sixteen. Banderellas with basic finish. Sixteen. Sur Place. Two different construotions are used to form all the basic figures in Jive. The normal counts and beat values associated with both constructions are as folIows:1t Bar Construction Chasse Chasse Step Step 3&4** 3&4 1 2 Count Q&Q Q&Q Q Timing Q 1 ttl 1 ttl Beats 78
79
. Note: As there are many differing forms of music su~table for Jive and individual interpretations of these will vary from one dancer to another. feet together.PASO DOBLE L to face centre). Syncopated Coup de Pique (curved to L). b f " d .
TIME SIGNATURE
TEMPO
T~G
AND
BEAT VALUES
The Jive Chasse is timed Q & Q. Sixteen. Elevations to R (commenced in "down") position. Chasses to R. Sur Place. Sur Place (turned to L to finish facing wall).t The second is based on 1 ar o mUSiCan consis S of two steps timed QQ. Q & Q. Twists. and is sometimes counted 3 & 4. followed by two Jive Chasses timed Q & Q. Close. but 42/44 bars/minute 1S usual for competitions and medal tests. Prom. A dance constructed using these chasses is usually referred to as Triple Jive. La Passe. (commenced facing against LOD) Grand Circle and Prom. Sur Place. Repeat if necessary. the actu:'ll foot . Syncopated Separation {using 'Syncopated Chasse finish). Jive may be danced coIillort8. Sur Place (turned to L to face wall). Deplacement plus one or two figures from the Membership syllabus. Sur Place. Sur Place. curved t turn to L to face against LOD). MEMBER OR FELLOW Commence in Close Hold facing wall. Sur Place (turned to L to face wall). The first and most elementary is based on 1t bars of music and consists of two steps timed QQ. weight on LF.

The chasse on the left foot (LRL) or right foot (RLR) may be danced on the spot. two of the most important key figures require 1t bars of music. JIVE CHASSE The chasse used in Jive consists of a group of. the moving foot being half closed to the stationary foot on the second step. When first introduced to this country Jive was based on movements each requiring one bar of music. ALIGNMENT In the description of the figures in this dance. no reference is made to starting and finishing positions.g. The movement with the same name used in the English Style dances IS a moving figure in which foot and body rise is introduced and the feet are closed on the second step. when all movements were based on a 1 bar construction so th. Technically. Brief descriptions of the original 1 bar basic movements are given at the end of this book. WIth or WIthout turn. The muscles of the legs must be kept under tension. e. --lIVE 1 Bar Construction Count 1 2 3 &4 Timing .--~"-.the heels touching or just clear of the floor. The only syllabus figures that retain the 1 bar construction are the more advanced figures of the Whip family. FOOTWORK All steps are taken on the ball of the foot. namely the Change of Place Right to Len. (b) The Q & Q of the Jive Chasse may be replaced by a tap-step movement. Throwaway Whip and the Rolling off the Arm. This method of construction is known as Two Beat Jive. Since.. habit dies hard. three steps. counted QQ. but each Jive Chasse was replaced by a single slow step. no harm is done by its continued use. it is more correct to use the standard Q & Q. The popular Rock and Roll was based on such a construction. This term wa~ obviously coined in the early days of the dance. however. Whip. but the arms are held a little lower.. OPEN POSITION The Open Position is similar to that described for the Rumba.at the Jive Chasse would then have always coincided WIth the 3rd and 4th beats of a bar of music. or travelling forward.ck. with . The use of the 1t bar construction has been found by experience to achieve good and quick results and is now used by the majority of schools. together with the Stop and Go.. The weight must not be allowed to fall back into the heels. The Jive Chasse must not be confused with the chasse used in English Style dancing. and the actual font movement should be kept to a rmnrmum. Two other popular rhythmic interpretations used within the framework of the 1t or 1 bar constructions are as follows:(a} The Q & Q of the Jive Chasse may be replaced by a single slow step.However. CLOSE HOLD The Close Hold is similar to that described for Rumba. diagonally back or SIdeways. This is because the Jive is basically a non-progressive dance and therefore individual figures need not always be danced using the same alignment. hll.1 The construction most commonly used to introduce Jive is based on basic movements each requiring 1t bars of music. which is often used to refer to the Jive Chasse. Q Q Q&Q Beats lIt 1. but the hips should be free so that a slight lateral hip swing takes place with each weight change. Note: It is interesting to note the continued use of the term 3 & 4. diagonally forward. and the Change of Place Left to Right. The chasse must be danced with a strong rhythmic interpretati~~. The normal Jive figures were used. From this the 1t bar basic movements have developed and the early 1 bar basic movements have become virtually obsolete. whether or not the actual chasse is danced the 3rd and 4th beats of a bar of music.
Associate
Figures marked with an asterisk under the headings and "Follows" apply only to the Membership and Fellowship syllabus. and since the use of 3 & 4 has some advantages for teaching purposes. Now with the extensive use of the 1t bar construction is obvious that one of the chasses will not fall' on lIVE these beats therefore from the musical aspect this term is meaning'less . Curly Whip. 81
of "Precedes"
it
80
. in practice is was found advantageous to add an additional chasse to the 1 bar basic movement. of course. It is accepted as the standard for the syllabus figures described in this chapter.

4. It will be noted that there is no change of hands when dancing the movement in this manner.. The actual spin is then made by the lady bracing against the man's L arm. Chasse (LRL) fwd taking lady's R hand into R hand on step No. Curly Whip. Chang~ of Place L to R. Change of Place L to R.. ... Man and Lady-Between i. Turning to R Chasse (RLR) fwd moving be. or Change of Place L to R. .. then release hold ... Basic Movement in Place. so having the effect of winding into lady's R arm. Change of Place R to L. . 8.. . CfOSS RF loosely behind LF Q 2. Stop and Go. Continuing to turn to R.. Change of Place R to L.6....4..7. placed slightly fwd. . 7. Q & Q Amount of Tum.5. Q & Q Amount of Turn. th~n releasing hold with L hand .5. Transfer weight fwd to RF . Transfer weight fwd to LF . . Precedes. Man-t turn to L over steps 3-8. .. ]jF to side and sUghtly back Q 2.. CHANGE OF HANDS BEHIND BACK Commence and finish in Open Position. Precedes. Still turning to L.5. Q 3. feet slightly apart. . Lady-One complete turn to R over steps 5-8 (approximately t to R on step No. : . Finish in Close Hold. Q 2.. Promenade Walks. . .. Steps 1-5 of the Link. Basic Movement in Fallaway. .. Fallaway Throwaway. Still turning to R. weight on RF. unwinding from lady's R arm. completing the turn during second Chasse). turning to L.. Finish in PP. cross RF in front of LF Q 3. Transfer weight fwd to LF . Still turning to R. Precedes.. . turning strongly to R on the spot. lady with weight on RF. If the figure is repeated it is usual to use the R hand hold.8. (a) If man regains hold with R hand-American Spin. taking lady's R hand into his R during the second Chasse. . LF to side and slightly fwd Q 3. Chasse (LRL) moving away from partner . . .* Note: The American Spin can also be danced without the man changing hold during the preceding figure. .. Q&Q Lady 1. On step No. weight on LF..* Follows. Q & Q 6. . dance a Chasse.. In both instances the man changes hands. . with the L arm held close to the body at about waist level whilst turning to L. Q 2. A second more advanced method of dancing this figure is to dance the first Chasse. Lady -t turn to R over steps 3-8.. then without releasing hold.. Throwaway Whip.lIVE 2. Chasse (RLR) to R changing lady's R hand into L hand behind back On step No.... Turning to R.3. RF back .. placed slightly fwd. Q & Q Amount of Turn.hind m. . Change of Hands Behind Back. Still turmng to R Chasse (LRL) moving away from partner . Note: An alternative method of dancing this figure is to retain hold of the lady's R hand during the first Chasse. Curly Whip.. Follows..5.4. 5. LF back. Q 3. 5 turn strongly to R through pressure against the man's braced R arm.. Still turning to R.an's back . Man Count 1.. .and one turn to R over complete figure. Promenade Walks (see Follows for Promenade Walks). Q & Q 6. Release hold at the end of this Chasse and still turning to L.. 7.. Q & Q 6. Continuing to turn to R. WlDP Commence in Close Hold. 8. Man Count 1. Q 3... Fallaway Throwaway. Chasse (RLR) fwd..* PROMENADE WALKS Commence in Close Hold. 87
86
. regain hold of the lady's R hand in L hand during the second Chasse.. 5.4. Turning to R. Turning to L and leading lady to move fwd behind back.. *
JIVE Follows. Man-Nil. winding into lady's R arm with the Larm held close to the body at about waist level. Chasse (LRL) to L .4.. Chasse (RLR) to R '" Q & Q Lady 1. (b) If man regains hold with L hand-Change Place L to R.. ..

Steps 1~5 of Link. Fallaway Throwaway. Transfer full weight on to LF.step either in place. Repeat if necessary from Throwaway Whip above. Change of Place L to R. Steps 1-5 of Link. Note 3. Change of Place L to R. Change of Place L to R (changing hands). Change of Place L to R. Promenade Walks. Rolling off the Arm. Steps 3-8 of Change of Place L to R. Note 2: Alternative methods of timing this figure are: S. (b) Fallaway Throwaway. Whip. or moving the stepping foot slightly fwd or back so that the tension in the arms referred to above is maintained. Steps 1-5 of Dink. Change of Place R to L.. American Spin (twice). weight on RF.
94
9S
. 2 Q N otel: The lady will incline her body back over the flexed supporting knee throughout the figure. suitable precedes.S.S. Whip. Depending upon the amount of travel backwards made by the man. knees together Q 4. WhIP. flex L knee and step fwd with RF wi thout full weight. lady being overturned to finish almost backing partner. The Chicken Walk cannot be introduced COIDfo~ably after any of the standard syllabus figures danced usmg the normal amount of turn. Steps 1-5 of Link. Steps 3-~ of the overturned Fallaway Throwaway. plus one or two figures from the Membership syllabus. Change of Place L to II{ (with change of hands) two A~erican . Lady-No body turn but the foot is turned out approx t turn on each step. feet slightly apart.. moving away from partner. Whip.S. Windmill (twice). Change of Place L to R. weight on RF..Q. Steps 1-5 of Link. Steps 1-5 of Link. Change of Place R to L. or S. FoDows: Steps 3-8 of Change of Place L to R..Spins.
Suggested Amalgamations
ASSOCIATE Commenc~ in Close Hold. Throwaway Whip. Tension is retained in the R arm (man's L arm). Whip. the lady will transfer her weight on to each Chicken Walk . Repeat step No. lady being overturned to finish alJ!lost backing partner. Stop and Go (twice). Steps 3-8 of Change of Place R t~ L. Walks.
JIVE JIVE
3. feet slightly apart. Chicken Walk. Amount of Tum. but the lady" must support her own weight through the supporting foot.Q. the second chasse may be danced with a lock action or as a short run. BaSIC Movement in Fallaway..--~--~~
. The overturn referred to above is achieved mainly on the last step of the first chasse of the fiaures named as.
MEMBER AND FElLOW Commence in Close Hold. Prom. Curly Whip. with R leg straight. Fallaway Throwaway. danced without regammg normal hold can be used if the Chicken Walks are to be repeate'd..S.. Change of Place R to L. The best movements to use as precedes are: (a) Change of Place L to R. ' Precedes. Steps 3-8 of Change of Place R to L. Spanish Arms. because the normal "back-replace" action is not used to precede the movement. Man--Nil. Change of Place L to R. Change of Place L to R Steps 1-5 of Link Whip. T turned out. Change of PLace L to R (with change of hands).

3 of each bar. Dance steps 1-5 above 2. 5.teady continuous turn to the L is made throughout the Close Basic.
Associate
Figures marked with an asterisk under the headings of "Precedes" and "Follows" apply only to the Membership and Fellowship syllabus. Q Q Beat Value 1 1 ft1 CHA CHA eHA CHASSE The Chasse used in aha Cha Cha consists of a group of three steps. 2.4 & 1 6-10. etc. 2. in the normal manner. 3. Cha Cha Cha Chasse (RLR) to side Lady 1-5. Dance steps 6-10 above 2.
In the description of the figures no reference is made
TIME SIGNATURE The time signature of the music for Cha-Cha-Cha is 4/4.3. The Cha Cha Cha Chasse can be danced in any direction. 4 & 1. and the man take'S the Cha Cha 97
TEMPO
This dance can be performed comfortably fairly wide range of tempi. 10. Cross Basic*. Open Position. Spot Tum to L.. Fan. CLOSE BASIC Commence in Close Hold and take small step to side on RF on the first beat of the bar. Any figure finished in Close Hold. 2. however. The normal amount of turn is approximately t to Lover the ten steps. RF back releasing L heel 3 7. the third step is 96
. on the second step the feet are half closed with the majority of the weight retained on the moving foot.. 3.CRA eRA eRA taken to side with full transference of weight and the consequent lateral hip action associated with such a weight change. 4 & 1. when listening to Cha Cha Cha music the predominately recurring beats are heard as 1. Transfer weight to LF in place . The first step' is taken to side with only part weight. ALIGNMENT
CHA eHA eHA
Close Hold. The actual beat values for each step are as follows: Step Step Chasse Count 2 3 4 &1 Timing Q&Q . Transfer weight to RF in place 4&1 3.4 & 1 Amount of Turn. Close Hip Twist. over a is usual
BEAT VALUES Predominately each bar of music is divided into four beats and each bar is joined together by a linking beat. 4 &1 8.. Spiral *. Man and Lady. man with weight on RF on the first beat of the bar. 34/36 bars/minute for competitions and medal tests. 9. 4. Shoulder to Shoulder. Opening Out Movement. LF fwd 3 2. New York. Finish in Close Hold. are as in Cuban Rumba. Shadow Position. Precedes. 4 & 1. After forward half of Close Basici=-Natural Top. Footwork.3. the moving foot being half closed to the stationary foot on the second step. Cha Cha Cha Chasse (LRL) to side 2 6. Norte: When following with the Natural Top. During the dance the Oha Cha Cha Chasse is arranged to occur on beats "4 & 1 " of each coupled pair of bars and foot movements normally taking 1 beat of music occur on beats 2. Fan Position. more turn can be made.
to starting and finishing positions. This is because Cha Cha Cha is basically a non-progressive dance and therefore individual figures need not always be danced using the same alignment. Follows. Count Man 2 1. A s. 3. Time Step. the forward half of the Close Basic is not turned to left. The net result of this is that..

5.. Continuing to turn R... LF to side and slightly back 2 12.. . Close Basic. Most dancers do not use the complete Natural Top. but dance only steps 11-15.. regain Close Hold 4 & 1 101
OPENING OUT MOVEMENT Commence in Close Hold...A continuous turn to right IS made throughout the figure. 5.. Finish in Close Hold. 4. LF fwd and slightly across body. Cha Cha Cha Chasse (LRL) to side. A nominal amount of turn for the fifteen steps Is two complete turns to R. Pivoting slightly on LF. leading lady to turn strongly to R . dance Cha Cha Cha Chasse (RLR) with a crossing action.. Transfer weight to RF in place. Follows.. . Turning to R. When the figure is danced in this manner the second step is taken to side and slightly back. Transfer weight to RF in place. 3 3. 14. dance Cha Cha Cha Chasse (LRL) to side and slightly back 4 & 1 6. commencing to turn lady to L 3
100
.. LF fwd allowing lady to close RF to LF . leading lady fwd. Close Hip Twist.... Cross Basic". 2 2. 4&1 Amount of TUm. Spiral*. Fan. 9... 9. Backward half of Close Basic. transfer weight to LF in place .. . Spot Turn to L. Man-Nil. 5 as a Cha Cha Cha Chasse with a crossing action RF in front of LF. lowering L arm.. . .. Dance Cha Cha Cha Chasse (RLR) to side. releasing L heel... 4. .
Note: Advanced dancers sometime'S take steps 3. still turning lady to R.. 2 2. Turning to R.CHA
CHA
CHA
eHA CHA eRA 3. feet apart. Precedes. however. weight on RF. Pivoting slightly on LF. 5. . LF to side and slightly back . Natural Top. regaining Close Hold ... Lady-Up to t to R on step 1 (actual amount of tum depends on the position of the body relative to the man at the end of the preceding Cha Cha Cha Chasse). RF in front of LF '" . LF to side and slightly back 3 8.. .. Dance compact Cha Cha Cha Chasse (LRL) to side still Ieading lady fwd and commencing to turn her to R 4& 1 6.... . " 3 3. Lady 1. . 4. Commencing to tum to L. . Alemana. Continuing to turn R... . Time Step. 10. with a centre which falls at a point between the two pairs of feet. Close Basic.to L over steps 2. 5. 3.. . cross RF in front of LF still turning to R .. ... 4.. turning lady square. . continuing to turn lady to R .. RF back. cross RF in front of LF still turning to R . . Hand to Hand (with shoulder hold-see note after Hand to Hand). Turning to R... Cross Basic*. 4. Man Count 1.. Forward half of Close Basic (see note after Close Basic).. 4 & 1 Lady 1.. Precedes. Transfer 'Weight to LF in place. Follows. 10. .. 2 2. Finish in Close Hold. . Spot Turn to R. . still leading lady to turn R under raised L arm 2 7. Spot Tum to L. This.. . . dance Cha Cha Cha Chasse (LRL) to side . Man and lady ... . RF back. N ole 2: Throughout the figure the couple revolves in a circle. . 3 3. 4. 15. is not considered good for Cha Oha Cha. Opening Out Movement.. cross RF in front of LF still turning to R .. Pivoting slightly On LF.. 5... Nate 2: The Opening Out movement forms the first five steps of the Close Hip Twist and the Spiral. 3 8. 1. 4 & 1 Am~unt ?f Tum... 4&1 11.
ALEMANA
Commence in Fan Position... but in the latter case a further turn is made on step 5. . . 2 7. Man Count 1. 3 13. . 2 2. . Turning square to partner Cha Oha Cha Chasse (RLR) to side .. particularly if the last step of the preceding Cha Oha Cha Chasse has been taken to side. Note 1: It is permissible for the man to take the first step (LF) to side as in the Opening Out Movement in Rumoa. Turning strongly to R. . Continuing to turn R..

fwd half of Close Basic. Spot Turn to L. ~er'gh~ on LF. 8... Any movement that is finished facing partner without holding. Repeat if necessary from Hockey Stick above. fwd half of Close Basic. man with weight on LF on the first beat of a bar. . Steps 11-15 of N at. . Cha Cha Cha (RLR) to side . Cross Basic (twice). 10.. commencing to turn R . 2. Open Basic (twice).. 3 2. not holding and without turn. Tap RF to LF. fwd half of Close Basic. 2nd Method (More advanced) Man Count 1 RF back .4.en»
eRA eHA of Tum. Spot Turn to R. New York. as yet.. feet apart. fwd half of Close Basic (without hold). ... fwd half of Close Basic. . without weight . Spot Tum to L. Cha Cha Cha. Amount of Turn (both methods).. 3. 3. Lady-Nil. 9. 6.. Close Hip Twist. Transfer weight to LF. Top. LF back and slightly to side 2 5. Hand to Hand. Although. Time Step. 4 & 1. IF back and slightly to side 2 7. RF back .. Follows. Man and Lady-Nil. To return to the normal dancing position on opposite feet. Fan. .. 1 4.. RF back . Finish on left side of lady facing same direction not holding or in Shadow Position. Cross Basic. 3. Steps 11-15 Nat. Spot Turn to L. Shoulder to Shoulder Spot Turn to L.. . Close Basic. Alemana. ...
113
. moving fwd with a "lock" action. 4. 2 2. Fan. Hand to Hand. & 1. 5. Top. . Open Basic. . Steps 11-15 of Nat. 3. Time Step alternating with Spot Turns to Land R).
en» en» eHA
Lady The lady's counterpart for this movement is the second and first half of Close Basic. Hockey Stick. figures of this type are not included in the syllabus. Close Hip Twist.. for the Membership and Fellowship examinations it is desirable for the candidate to have a knowledge of some of the methods used to change feet. Close Basic.. Alemana.. 4 3. RF fwd. 4&1 6.. Repeat if necessary from Close Basic above. weight on LF. Two popular methods of achieving foot changes are given below:1st Method Commence facing partner not holding. fwd half of Close Basic. 2. . Time Step. Hockey Stick. Open Hip Twist.. Transfer weight to LF in place. Follows. Position. commencing to turn R .. in place . Still turning to R. Precedes. the man or lady may repeat either method of changing feet. 4&1 Lady The lady's counterpart for this movement is the second and first half of Close Basic. Spot Turn to L. Cuban Break.. Man-t to R during the complete movement. 7. fwd half of Close Basic. 4 & 1. MEMBER AND FElLOW Commence in Close Hold. Spiral. 2. Spot Turn to R. IWE'IHODS OF CHANGING FEET
IN CHA CHA CHA
Many modern variations are danced on the same foot either with the couple side by side not holding or in Shadow. Sport Turn to L. fwd half of Close Basic. Transfer weight to LF. & 1.. now facing 3 same direction as lady on her L side . Fan. Cha Cha Cha Chasse (RLR) to side 4&1 112
Suggested Amalgamations
ASSOCIATE Commence in Close Hold. Open Basic. 3 8. 3 3.. weight on LF.
Amount
Precedes.. in place . Still turning to R. Hockey Stick (releasing hold).. Close Basic. not holding and without turn. feet slightly apart. 9.. feet slightly apart. Top. 4.. . 2. Count Man 2 1.

Turning strongly to R.. then release hold with L hand . namely "and" is being used indiscriminately to describe actions that require both a t beat and also a t beat of music. LF diag back Q Amount of Turn. t. Timing "4 & 1".5.4. Precedes. . 1. LF back Q 2. regaining lady's R hand in L hand .. Finish in Open Position. . Maximum would be: Man-!.. The best method of achieving this is to make use of "a" (pronounced "ah" or "er") 119
118
. One Bar Link and the Whip. One Bar Basic Movement commencing on LF. of course.to L on step 1. Q 3. t.. {.. One Bar Basic Throwaway. Whip. .. . Stop and Go. weight on RF. ' SIMPLE SPIN Commence in Open Position. the tempo will usually be faster. Chance of Place L to R. Follows. Q 2. .. . The precise turn depends on the amount of overturn made during the preceding Change of Place L to R. . One Bar Basic Movement. Change of Place L to R with the second Chasse taken to R moving L arm well across body. Beat Values t.Man Count 1. .H to R over step') 1.. The difficulty arises from the fact that the same word. . t". Lady. The use of this terminology often leads to considerable confusion in the minds of students and also can be the cause of poor interpretation by dancers. ft'ollows. Transfer weight to RF. N... . since the three steps take one bar of music with the second beat evenly divided (typical examples are the Natural Rolls and Open Rocks in Samba) and therefore this is similar to the normal "SQQ" terminology applied to movements in the English Style dances. when referred to music with a time signature of 2/4.imple method of remembering this group of one bar Jive movements 1S to dance them in the following sequence:-One Bar Basic Movement One Har B?-sic in Fallaway. One Bar Basic Throwaway. 1. 2. Man Count 1. Common practice is to refer to the timing of such movements as "Q & Q". (c) The Jive Chasse-Timing "Q & Q". (b) The Cha Cha Cha Chasse. Beat Values t. Na difficulty arises due to the use of "SQQ" for movements requiring a beat split of "1. then repeat ad lib. Q Lady 1. Transfer weight to LF turning to L. t. danced to music with a time signature of 4/4-although. RF fwd Q 2. Typical examples are:(a) The Samba Whisks-Timing "1 & 2".ote: A ~. Still turning to R. Chasse (LRL) fwd regaining Close Hold Q & Q Lady The lady dances the normal opposite QQQ & Q Amount of Tum.. Transfer weight fwd to RF ..... . 1. Man-Turn to face partner on step 1. The main objection to the use of the word "and" for a t beat is that it takes too long to enunciate and the pupil is not made aware of the quick change of weight or crispness required when executing movements requiring a t beat.
A NOTE ON TIMING
In the Latin American dances it is often necessary to dance three steps or movements to two beats of music.. What is needed therefore is a word that is phonetically shorter to be used exclusively for all t beat movements. . leading lady to turn strongly to R... Man and Lady-NiL Precedes. Change of Place L to R. Beat Values t. "1 & 2" or "4 & 1" and sometimes when the time signature of the music is 2/4 as "SQQ"..

. .• Progressive Walks... One Bar Basic in Fallaway One Bar Basic Throwaway One Bar Link Simple Spin CHA CHA eHA Close Basic.. Outside Basic Movement . ... Volta Spot Turn to Left Circular Voltas turning to Right ..for timing all t beat movements. Hand to Hand Shoulder to Shoulder Spot Turn to Left Spot Tum to Right Cross Basic Open Hip Twist Spiral Open Basic . The student will find it a good exercise to amend the appropriate timings should. •. However.... • Fan.. New York . Sixteen . For this reason I have retained the old terminology for timing the descriptions used in this book...... irrespective of whether the time signature of the dance is 2/4 or 4/4... JIVE Basic Movement in Place . Link . La Passe Banderillas S~copated Separation Twists •. .
INDEX TO INDIVIDUAL FIGURES
RUMBA Basic Movement ... Chasses to Right 9 9 10 11 12 12 13 14 15 16 17 17 18 19 21 22 23 114 27 28 28 29 30 31 31 32 33 34 35 35 36 37 37 39 40 Chasses to Left . it is obvious that in the interests of standardisation of teaching methods throughout the dancing world and to avoid confusion it is undesirable to implement such ideas in a technical book of this nature before they are accepted by the dancing profession. •.. and universally adopted. One Bar Basic Movement. Ecart et Veronique ... many of them already use let for teaching purposes. Elevations to Right Elevations to Left Huit . Promenade Walks.. . . Circular Voltas turning to Left Contra Boto Fogos Samba Walk in Line Bow Revirado PASO DOBLE Basic Movement Sur Place Appel .. . at some future date..
Deplacement Yl 5t! 51} 60 61 64
57
I
I
I
42 44 45 46 46 47 48 49 114 115 115 55 56 56 56
41
I
I
I
Separation . Side Samba Walk Open Rocks Stationary Samba Walk Travelling Boto Fogos (Forward and Back) Cruzados . . Progressive Walks Forward in Shadow Position Opening Out from '6' of Reverse Top Outside Swivel Open Hip Twist Spiral . . .. Sur Place in Elevation Promenades. . Fan... . .. .. the method of timing described above become stand~rd-r:nea~wh~le to implement it for teaching purposes WIll assist him m obtaining better results. Basic Movement in Fallaway . Cuban Break
5') 62 62
65 67 68 71
82 82 83 83 84 85 85
87 87
86
88 89 90 90 91 92 93 116 117 117 117 118 97 98 99 100 101 102 103 104 105 106 107 107 108 108 109 111 til
98
120
.. Progressive Basic Movement Whisks Promenade Samba Walk Promenade Boto Fogos Travelling Boto Fogos (Forward) Natural Roll Reverse Turn Close Rocks Corta Jaca ..• •.... Plait. Rope Spinning Sliding Doors Three Th(ees Side Steps SAMBA Natural Basic Movement . Fallaway Throwaway American Spin .. Change of Place Left to Right .. Change of Hands Behind Back Whip . Backward Rocks . Hockey Stick Natural Top Opening Out Movement Reverse Top Alemana Close Hip Twist . Hockey Stick Natural Top Opening Out Movement Alemana •. Close Hip Twist Time Step . Stop and Go Windmill Throwaway Whip Curly Whip Rolling of the Arm Spanish Arms Chicken Walks •.. . Most Latin American specialists now agree that such a method of timing split beats should be made standard. The use of the word "and" can be retained for all t beat movements danced to music with a time signature of 4/4 and the word "quick" can he retained of all t beat movements danced to music with a time signature of 2/4. Change of Place Right to Left ... Reverse Basic Movement .. Travelling Voltas to Right Travelling Voltas to Left Volta Spot Turn to Right.